• The Journal of the Korea Contents Association
• /
• v.15 no.1
• /
• pp.64-73
• /
• 2015

Describing the filmography of Yong-ho KIM simply in a few sentences is considered nearly impossible. For the last 20 years and longer, KIM has been building up his career energetically as he never lets himself obsessed with any particular boundaries or areas but work on everything from paper advertisements to art galleries, advertising photographs and pure photographs. The Photolanguage personally mentioned by Yong-ho KIM himself is to visualize this imaginary story in a form of photograph, which one would come up with before shooting. When it comes to the advertising photographs, since they are used basically to sell products, they are considered rather temporary, and in addition, they photograph the products mostly under these bright lights with colorful backgrounds behind. However, Yong-ho KIM was recognized for presenting very much different work as he went even beyond these old stereotypes of the advertising photographs. The advertising photographs processed by KIM do more than merely introducing details or functions of some products, but they deliver these values and cultures that consumers can enjoy and gain through these original stories about the products. Of several pieces of KIM's work, this advertisement on Hyundai Card named was invited to an exhibition by a private gallery after the work was exposed through various media. The work was even purchased, and that was something that had not happened before in the history of the relevant field. When a photograph is purchased, it makes the photograph recognized for its value to be possessed, and when a photograph is displayed, it, again, makes the photograph win recognition as an art work. This thesis discusses the Photolanguage found in the works of Yong-ho KIM, one of the most well-known advertising photographers in South Korea. The research inquiries that have been analyzed in the body of the thesis, therefore, are the photographs and language in the digital era, the story-telling advertisements and these works by Yong-ho KIM.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
• /
• v.11 no.4
• /
• pp.414-420
• /
• 2018

The digital convergence looking for new ways to engage visitors by superimposing virtual content on projection over the real world captured media contents. This paper propose the Light ID based interactive 3D immersive exhibition things view using HMD AR technology. This approach does not required to add any additional infrastructure to be built-in to enable service and uses the installed Lighting or displays devices in the exhibit area. In this approach, the Light ID can be used as a Location Identifier and communication medium to access the content unlike the QR Tag which supports provide the download information through web interface. This utilize the advantages of camera based optical wireless communication (OWC) to receive the media content on smart device to deliver immersive 3D content visualization using AR. The proposed exhibition method is emulated on GALAXY S8 smart phone and the visual performance is evaluated for Jeonju Hanok Village. The experimental results shows that the proposed method can give immersive 3D view for exhibit things in real-time.

• Journal of the Korea Society of Computer and Information
• /
• v.18 no.1
• /
• pp.31-42
• /
• 2013

This research sheds light on the non-intrusive traits of mobile devices (Electronic Guidebook, Rememberer, I-Guides and eXspot) deployed in Exploratorium for enhancing visitor experience via case studies. In an interactive exhibition environment, non-intrusiveness was the key to supporting the immersive experience and meaning-making for visitors. The usability of hand-held devices directly impacted on the non-intrusiveness, thereby reshaping the form-factors of mobile devices. The change in from-factor has also minimized the functions of devices as the remember of museum experience. Furthermore, the role of mobile devices, which turned from a supposed multi-media guide to a mere rememberer, made them virtually impossible for realizing the "seamless visiting model" originally planned. An array of projects carried out in Exploration have achieved some degree of success such as increasing viewing time as well as reinforcing post-visit activities. However, taken from musicological perspective, increase in viewing time is by all means insufficient to be taken as proof since it is assumed to be achieved by photo-taking (i.e. MyExploratorium) rather than by interacting between visitors and exhibits. This issue --increased viewing time -- needs to be analyzed in depth. All in all, mobile devices used in Exploratorium can be defined as a learning tool/educational supporting medium based on personalization for (visitors') optimizing extended museum experience.

• The Journal of the Korea Contents Association
• /
• v.20 no.7
• /
• pp.525-533
• /
• 2020

In recent years, the VR-interactive action contents industry, which utilizes five senses of human bodies, has continued to grow through areas such as games, tourism, movies, performances and exhibitions, but it has reached to breaking point by unrealistic visual elements. Therefore, the purpose of this study is to analyze the effect of each evaluation factor based on visual immersion of interactive type of VR action contents to overcome the limitations. For this study, firstly, prior research is reviewed. Secondly, the evaluation factors of visual immersion of interactive type of VR action contents and hypothesis are to be derived. Research finding is that there is no difference to recognize proximity, three-dimensionality, visibility and immersion by gender. Also, in order to influence visual immersion, it is important that 3D modeling of characters and objects must be sophisticated to be fit in with their surroundings and lighting. This makes user to be confused where they are actually in.

• Journal of Korean Philosophical Society
• /
• v.117
• /
• pp.249-273
• /
• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.

• Science of Emotion and Sensibility
• /
• v.15 no.4
• /
• pp.553-564
• /
• 2012

Tangible user interfaces have been developed in the area of Human-Computer Interaction for the last decades, however, the applied domains recently have been extended into the product design and interactive art. Tangible User Interfaces are the combination of digital information and physical objects or environments, thus they provide tangible and intuitive interaction as input and output devices, often combined with Augmented Reality. The research developed a design guideline for tangible user interfaces based on key properties of tangible user interfaces defined previously in five representative research: Tangible Interaction, Intuitiveness and Convenience, Expressive Representation, Context-aware and Spatial Interaction, and Social Interaction. Using the guideline emphasizing user interaction, this research evaluated installation in a science museum in terms of the applied characteristics of tangible user interfaces. The selected 15 installations which were evaluated are to educate visitors for science by emphasizing manipulation and experience of interfaces in those installations. According to the input devices, they are categorized into four Types. TUI properties in Type 3 installation, which uses body motions for interaction, shows the highest score, where items for context-aware and spatial interaction were highly rated. The context-aware and spatial interaction have been recently emphasized as extended properties of tangible user interfaces. The major type of installation in the science museum is equipped with buttons and joysticks for physical manipulation, thus multimodal interfaces utilizing visual, aural, tactile senses etc need to be developed to provide more innovative interaction. Further, more installation need to be reconfigurable for embodied interaction between users and the interactive space. The proposed design guideline can specify the characteristics of tangible user interfaces, thus this research can be a basis for the development and application of installation involving more TUI properties in future.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.43 no.6
• /
• pp.1-15
• /
• 2015

Changgyeongwon emerged as pleasure grounds following the creation of a museum, zoo and botanical garden in Changgyeonggung Palace during the Japanese colonial period. Pleasure grounds offer space for entertainment and have maintained the image of a paradise apart from reality. This study examined the creation process of pleasure grounds within a royal palace and the following spatial changes. By analyzing the image of Changgyeongwon as an artificial paradise, this study explored its landscape and cultural aspects. Literature reviews on the intention and process showed that the Changgyeongwon pleasure grounds were created as a 'royal garden' for the amusement of Sunjong, as well as 'public pleasure grounds' in the process of colonization. It was one of the first public spaces open to everyone who could afford the entrance fee. The layout of Changgyeongwon was studied by a comparison and analyzation of modern plans and photographs. It was composed of the central museum zone, northern botanical garden zone, and southern zoological garden zone. A conservatory and greenhouse to exhibit and maintain tropical plants were intensively built in the botanical garden zone while an aviary was created on the zoo pond. In the vicinity of the aviary a vivarium was constructed. Museum exhibition facilities included a main building as well as existing buildings, and a western flower garden was created between the buildings. Space for children including a playground and horse-riding course were created in the 1930's. The paradisiacal image and pleasure grounds culture of Changgyeongwon were studied as follows. Firstly, it shows that Changgyeongwon's paradisiacal image where rare animals and exotic plants were open to the public was promoted by the zoo and botanical garden. This led to the creation of new popular leisure activities such as flower appreciation and animal watching. Secondly, Changgyeongwon offered an urban leisure space, symbolizing the 'non-urban nature within the city' where the urban residents could escape from the daily routine. Thirdly, Changgyeongwon was known for its 'fantastic night landscape' by its night opening during the cherry blossom season. This cherry blossom viewing at night sadly degenerated by various shows and drinking, and as a result, an image of a deviant paradise was given to Changgyeongwon. Changgyeongwon contributed to creating a new space with its diverse facilities, and the public embraced the urban culture through experiences of pleasure and entertainment.

• Journal of Conservation Science
• /
• v.31 no.4
• /
• pp.373-386
• /
• 2015

This study identified degradation properties by temperature stress with Araldite$^{(R)}$ AY103-1/HY956 used for ceramics. Tensile and compressive strength of durability increased for 6,480 hours at temperature of $34{\sim}45^{\circ}C$. In stability of external stress and temperature, compressive strength is superior to tensile strength, it requires conservation plans considering strength properties and stress of restoration materials. The tensile shear strength of adhesion properties decreased for 4,320 hours at temperature of $40{\sim}60^{\circ}C$. In ceramics with porosity, environments under isothermal-isohumidity are important because interfacial properties of adherend are concerned with performance variation. Glossiness decreased for 6,480 hours at temperature of $34{\sim}45^{\circ}C$ and color difference increased. Gloss stability was superior and color stability was weak, which requires improvement of optical properties. In artifacts on display in museums, there is concern about temperature rise on restoration materials by lighting therefore, it needs to minimize change in physical properties by exposure environments.

• Korean Journal of Adult Nursing
• /
• v.19 no.1
• /
• pp.35-44
• /
• 2007

Purpose: This study was conducted to examine the knowledge level and assessment experience of nurses in regards to delirium, and to utilize the study results as baseline data for planning delirium education programs for nurses. Methods: Subjects were 465 nurses who were working in a general hospital. A 'delirium related knowledge and assessment experience' questionnaire was used to collect data. Results: Knowledge levels regarding delirium averaged 70 out of 100, and at each domain, they scored 87 for etiology of delirium, 62 for symptoms, and 69 for nursing management. The knowledge level of delirium was significantly different according to educational level (F=3.851, p=.022), past education related to geriatrics(t=2.471, p=.014), and awareness of need for in-service education on geriatric nursing(F=2.663, p=.032). About 85% of nurses had past experience of dealing with delirious patients and only 7.7% of nurses used delirious state assessment tools. Conclusion: According to the above results, it is necessary, not only to provide delirium related educational programs for nurses, but also to emphasize the usefulness of applying the assessment tool.

• Archives of design research
• /
• v.11 no.1
• /
• pp.11-20
• /
• 1998

Display in commercial space is one of the most important fields in modem advanced industrial sectors as means of promoting the volume of sales. Additionally, consummers' preferences are more complicated and various than before because of improvement of quality of life. In order to satisfy the various comsumer's desire, the role of display must be an important factor in commercial space. On the other hand, the facade of commercial buildings in the concept of visual merchandising has important effect on the commercial space such as layout of a shop, setting up presentation space, and visual expression. The structure of the facade of the store provides not only an advertising function but also an important position to the composition of external space. Besides, enterance space is a part of a store, and it is closely related to outdoor space. Therefore, the relationship between a store and outdoor space should be carefully considered in terms of functional and expressional problems.This study introduces all sort of characteristics of the facade of enterance speac in the commercial buildings. It also investigates the relationship among the characteristics. Moreover, it analyzes the effect of facade style on shop environment such as zonning, inducement plan, and allocation plan. For the purpose of this study, 57 fashion stores, located in Myung-Dong(Seoul), are investigated. Based on the sample, this study analyzes the relationship between the facade style and visual presentation. Finally, it suggests the desirable direction of space composition based upon the concept of visual merchandising.