• Cartoon and Animation Studies
• /
• s.20
• /
• pp.47-61
• /
• 2010

The Uncanny Valley is a hypothesis introduced by a roboticist, Masahiro Mori. The theory holds that as robots and other facsimiles of humans look and act more human-like, the emotional response from a human spectator to them will become increasingly empathic, until they approach realistic similarity to humans but not quite exactly like them, when those images stop being likable and instead become repulsive and "uncanny." Although the scientific validity of this hypothesis is still debatable, it is true that many spectators has tendency to reject hyper-realistic animation. For that reason, the great success of the recent movie Avatar is remarkable. Computer animations that try to represent humans in hyper-realistic way fall into a paradox: successful result images would look too mundane and unsuccessful ones look "wrong". On top of that, audience would expect from hyper-realistic animation to see same level of acting of live-action films, which is usually not the case. The subtle differences between digital characters and real actors irritate spectators and hinder them in absorbtion. The biggest difference between Avatar and other hyper-realistic animation is the referent of their representation. While Avatar pursues a similar hyper-realistic visual style, the referents of the representation shown in this movie are totally alien to us thus impossible to compare with the real counterparts. Unlike characters in other hyper-realistic animations who had to fight an uphill battle with great actors in real life, those in Avatar have criteria of their own. That is why this movie can be free from the dreadful valley and let the audience absorb into the spectacle.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.27-50
• /
• 2016

The present study argues that documentary-animation films, which are based on actual human voices, on the level of representation, constitute a new expansion for the medium of animation films, which serve as testimonies to the real world. Animation films are produced using very diverse techniques so that they are complex to the degree of being indefinable, and documentary films, though based on objective representation, increase in complexity in that there exist various types of artificial interventions such as direction and digital image processing. Having emerged as a hybrid genre of the two media, documentary-animation films draw into themselves actual events and elements so that they conceptually share reality-based narratives and are visually characterized by the trappings of animation films. Generally classified as 'animated documentaries', this genre triggered discussions following the release of , a work that is mistaken as having used rotoscoping transforming live action in terms of the technique. When analyzed in detail, however, this work is presented as an ambiguous medium where the characteristics of animation films, which are virtual simulacra without reality, and of documentaries, which are based on the objective indexicality of the referents, coexist because of its mixed use of typical animation techniques, 3D programs, and live-action images. Discussed in the present study, , , and share the characteristics of the medium of documentaries in that the narratives develop as testimonies of historical figures but, at the same time, are connected to animation films because of their production techniques and direction characteristics. Consequently, this medium must be discussed as a new expansion rather than being included in the existing classification system, and such a presupposition is an indispensable process for directly facing the reality of the works and for developing discussions. Through works that directly use the interviewees' voices yet do not transcend the characteristics of animation films, the present study seeks to define documentary-animation films and to discuss the possibility of the medium, which has expanded as a testimony to the real world.

• Journal of the Korean Institute of Telematics and Electronics S
• /
• v.36S no.9
• /
• pp.91-102
• /
• 1999

It is known that the digital image enlargement technique which only uses spatially neighbored pixels information in a still image can increase the size of the image but the practical enhancement of resolution is small because the frequency bandwidth of the image is basically limited. To solve this problem, this paper proposes the digital image enlargement technique that improves the reconstruction of the edge components by selectively transposing the direction of the subwindows of pseudomedian filter according to the distribution of neighbored pixels to the interpolation point. The pseudomedian filter has the better performance in aspect of the reconstruction of edge information when the pixel values masked by two subwindows parallel to the interpolation point are very similar and the pixel values masked by another subwindow that is orthogonal to the above two subwindows are similar to each other. In this paper, the computer simulation for digital image enlargement was performed with consideration of these characteristics when selecting the subwindows of pseudomedina filter. Based on this simulation result, the performance of the proposed method was analysed and its effectiveness was assessed. According to the proposed method, visual artifacts that result from using the limited samples can be effectively suppressed, and most characteristics and shapes of the original image can be preserved as well.

• Proceedings of the Korea Water Resources Association Conference
• /
• 2010.05a
• /
• pp.1429-1433
• /
• 2010

수공구조물의 설계, 수자원 관리계획의 수립, 재해영향 검토 등을 수행할 때, 재현기간에 따른 확률개념의 강우량, 홍수량, 저수량 등을 산정하여 사용하게 되며, 보통 대상지역의 장기 수문관측 자료를 이용하여 수문사상의 확률분포를 산정한 후 재현기간을 연장하여 원하는 설계빈도에 해당하는 양을 추정하게 된다. 미계측지역 또는 관측자료의 보유기간이 짧은 지역의 경우는 지역빈도 분석 결과를 이용하게 된다. 지역빈도해석을 위해서는 강우자료들의 동질성을 파악하는 것이 가장 기본적인 과정이 되며 이를 위해 통계학적인 범주화분석이 선행되어야 한다. 지점 빈도분석의 수문학적 동질성 판별을 위해 L-moment 방법, K-means 방법에 의한 군집분석 등이 주로 사용되며 관측소 위치좌표를 이용한 공간보간법을 적용하여 시각화하고 있다. 강수량은 시공간적으로 변하는 수문변량으로서 강수량의 시간적인 특성 또한 강수량의 특성을 정의하는데 매우 중요한 요소이다. 이러한 점에서 본 연구를 통해 강수지점의 공간적인 좌표 및 강수량의 양적인 범주화에 초점을 맞춘 기존 지역빈도분석의 범주화 과정에 덧붙여 시간적인 영향을 고려할 수 있는 요소들을 결정하고 이를 활용할 수 있는 범주화 과정을 제시하고자 한다. 즉, 극치강수량의 발생 시기에 대한 정량적인 분석이 가능한 순환통계기법을 이용하여 관측 지점별 시간 통계량을 산정하고, 이를 극치강수량과 결합하여 시 공간적인 특성자료를 생성한 후 이를 이용한 군집화 해석 모형을 개발하는데 연구의 목적이 있다. 분석 과정에 있어서 시간속성의 정량화 및 일반화는 순환통계기법을 사용하였으며, 극치강수량과 발생시점의 속성자료는 각각의 평균과 표준편차를 이용하였다. K-means 알고리즘을 이용해 결합자료를 군집화 하고, L-moment 방법으로 지역화 결과에 대한 검증을 수행하였다. 속성 결합 자료의 군집화 효과는 모의데이터 실험을 통해 확인하였으며, 우리 나라의 58개 기상관측소 자료를 이용하여 분석을 수행하였다. 예비해석 단계에서 100회의 군집분석을 통해 평균적인 centroid를 산정하고, 해당 값을 본 해석의 초기 centroid로 지정하여, 변동적인 클러스터링 경향을 안정화시켜 해석이 반복됨에 따라 군집화 결과가 달라지는 오류를 방지하였다. 또한 K-means 방법으로 계산된 군집별 공간거리 합의 크기에 따라 군집번호를 부여함으로써 군집의 번호순서대로 물리적인 연관성이 인접하도록 설정하였으며, 군집간의 경계선을 추출할 때 발생할 수 있는 오류를 방지하였다. 지역빈도분석 결과는 3차원 Spline 기법으로 도시하였다.

• Journal of Korean Society for Geospatial Information Science
• /
• v.24 no.1
• /
• pp.89-98
• /
• 2016

In this paper, we proposed an automated areal feature matching method based on geometric similarity without user intervention and is applied into areal features of many-to-many relation, for confusion of spatial data-sets of different scale and updating cycle. Firstly, areal feature(node) that a value of inclusion function is more than 0.4 was connected as an edge in adjacency matrix and candidate corresponding areal features included many-to-many relation was identified by multiplication of adjacency matrix. For geometrical matching, these multiple candidates corresponding areal features were transformed into an aggregated polygon as a convex hull generated by a curve-fitting algorithm. Secondly, we defined matching criteria to measure geometrical quality, and these criteria were changed into normalized values, similarity, by similarity function. Next, shape similarity is defined as a weighted linear combination of these similarities and weights which are calculated by Criteria Importance Through Intercriteria Correlation(CRITIC) method. Finally, in training data, we identified Equal Error Rate(EER) which is trade-off value in a plot of precision versus recall for all threshold values(PR curve) as a threshold and decided if these candidate pairs are corresponding pairs or not. To the result of applying the proposed method in a digital topographic map and a base map of address system(KAIS), we confirmed that some many-to-many areal features were mis-detected in visual evaluation and precision, recall and F-Measure was highly 0.951, 0.906, 0.928, respectively in statistical evaluation. These means that accuracy of the automated matching between different spatial data-sets by the proposed method is highly. However, we should do a research on an inclusion function and a detail matching criterion to exactly quantify many-to-many areal features in future.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.6
• /
• pp.979-986
• /
• 2022

In this study, the virtual exhibition using 3D architectural space was analyzed in terms of the viewer's experience. For this purpose, the analysis items of the virtual architectural space include whether the actual architectural space is reproduced, the introduction of surreal elements, the degree of freedom of movement and circulation, the level of photorealism of spatial expression, the level of reproduction of the exhibits and information provision method, and the interaction with other participants. Six virtual exhibition projects designed by a well-known architect were selected and analyzed. Three directions were found through the analysis. First, even when designing a virtual exhibition space with a high degree of freedom, there is a tendency to present a familiar architectural environment. Second, the current method of creating a virtual architectural space is that the method using a 360-degree rendering image and the method using a game engine coexist with pros and cons. Third, the interaction between participants in the virtual exhibition is implemented only by using a game engine. It is expected that the virtual space production environment using the game engine to be developed will become more advantageous in the future.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.5
• /
• pp.64-77
• /
• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• Information Systems Review
• /
• v.17 no.2
• /
• pp.29-48
• /
• 2015

This study proposes an integrated operational model of branches with customer center at stock brokerage firms and suggests ways to improve existing systems. This suggested integrated model of branches and customer centers can increase customer satisfaction and customer values for the specific services at each channel. This integrated model also enables customers to make transactions at a desired specific time, make it possible to inquire whatever the customer wished to ask, and select desired contact channels. In addition, the firms can bring in improved effectiveness of internal resources by integrating all the resources the firm has. Personal resources and system resources are distributed by the characteristics of channels that can be selected by the customers. Then agents also can provide more speedy and accurate responses to the engaged customer interactions matching to his/her job in charge. Also, the model makes it possible to collect the latest customer and transaction information at the moment of each interactions, by which the firm can provide customized services specifically tailed to each customers' preferences. However, systematic interactions between branches and customer center, and completed system should be equipped with in order to provide the highest quality services.

• Trans-
• /
• v.6
• /
• pp.43-78
• /
• 2019

Dance is an art that includes not only art historical facts, but also a series of processes for dancers' body, choreography, and the creation of entire process of dances and their lives. In other words, dance is the art of embodying the experience and consciousness of the dancer as the subject, and embodying it through the physical body, and therefore, the existing empirical study which relies solely on the literature in the history of dance study is difficult to deliver a complete history. Oral history is a new methodology historical writing that overcomes the limitations of research methods based on literature centered documents. Oral history in the field of dance is that the dancer becomes the subject of the history of dance's narrative. The memory and testimony of a dancer can become a history, complement the missing parts of the documentary record, and amount to analysis and interpretation to attempt the history of dance from various perspectives. The history of dance through oral history analysis thus generates another view from the literature. The oral history is acted as a prism that can explore the sociocultural discourse of the time and the history of dance. As a new academic challenge for the history of dance field, I expect to be able to review the artistic, social, and cultural functions and roles of dance beyond the limit of existing literature-oriented history study and to be able to progress to various the history of dance.

• Cartoon and Animation Studies
• /
• s.22
• /
• pp.17-30
• /
• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.