• The Korean Journal of Nuclear Medicine
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• v.34 no.1
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• pp.82-93
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• 2000

Purpose: We characterized the signals obtained from the components of a small gamma camera using Nal(Tl)-position sensitive photomultiplier tube (PSPMT) and optimized the parameters employed in the modules of the system. Materials and Methods: The small gamma camera system consists of a Nal(Tl) crystal ($60{\times}60{\times}6mm^3$) coupled with a Hamamatsu R3941 PSPMT, a resister chain circuit, preamplifiers, nuclear instrument modules (NIMs), an analog to digital converter and a personal computer for control and display. The PSPMT was read out using a resistive charge division circuit which multiplexes the 34 cross wire anode channels into 4 signals (X+, X-, Y+, Y -). Those signals were individually amplified by four preamplifiers and then, shaped and amplified by amplifiers. The signals were discriminated and digitized via triggering signal and used to localize the position of an event by applying the Anger logic. The gamma camera control and image display was performed by a program implemented using a graphic software. Results: The characteristics of signal and the parameters employed in each module of the system were presented. The intrinsic sensitivity of the system was approximately $8{\times}10^3$ counts/sec/${\mu}Ci$. The intrinsic energy resolution of the system was 18% FWHM at 140 keV. The spatial resolution obtained using a line-slit mask and $^{99m}Tc$ point source were, respectively, 2.2 and 2.3 mm FWHM in X and Y directions. Breast phantom containing $2{\sim}7mm$ diameter spheres was successfully imaged with a parallel hole collimator. The image displayed accurate size and activity distribution over the imaging field of view Conclusion: We proposed a simple method for development of a small gamma camera and presented the characteristics of the signals from the system and the optimized parameters used in the modules of the small gamma camera.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.47 no.5
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• pp.50-60
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• 2010

For the last half a century, the personal computer and software industries have been prosperous due to the incessant evolution of computer systems. In the 21st century, the embedded system market has greatly increased as the market shifted to the mobile gadget field. While a lot of multimedia gadgets such as mobile phone, navigation system, PMP, etc. are pouring into the market, most industrial control systems still rely on 8-bit micro-controllers and simple application software techniques. Unfortunately, the technological barrier which requires additional investment and higher quality manpower to overcome, and the business risks which come from the uncertainty of the market growth and the competitiveness of the resulting products have prevented the companies in the industry from taking advantage of such fancy technologies. However, high performance, low-power and low-cost hardware and software platforms will enable their high-technology products to be developed and recognized by potential clients in the future. This paper presents such a platform for industrial embedded systems. The platform was designed based on Telechips TCC8300 multimedia processor which embedded a variety of parallel hardware for the implementation of multimedia functions. And open-source Embedded Linux, TinyX and GTK+ are used for implementation of GUI to minimize technology costs. In order to estimate the expected performance and power consumption, the performance improvement and the power consumption due to each of enabled hardware sub-systems including YUV2RGB frame converter are measured. An analytic model was devised to check the feasibility of a new application and trade off its performance and power consumption. The validity of the model has been confirmed by implementing a real target system. The cost can be further mitigated by using the hardware parts which are being used for mass production products mostly in the cell-phone market.

• Information Systems Review
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• v.21 no.4
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• pp.143-156
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• 2019

Types of innovation can be categorized into simplification, information, automation, and intelligence. Intelligence is the highest level of innovation, and RPA can be seen as one of intelligence. Robotic Process Automation(RPA), a software robot with artificial intelligence, is an example of intelligence that is suited for simple, repetitive, large-scale transaction processing tasks. The RPA, which is already in operation in many companies in Korea, shows what needs to be done to naturally focus on the core tasks in a situation where the need for a strong organizational culture is increasing and the emphasis is on voluntary leadership, strong teamwork and execution, and a professional working culture. The introduction was considered naturally according to the need to find. Robotic Process Automation, or RPA, is a technology that replaces human tasks with the goal of quickly and efficiently handling structural tasks. RPA is implemented through software robots that mimic humans using software such as ERP systems or productivity tools. RPA robots are software installed on a computer and are called robots by the principle of operation. RPA is integrated throughout the IT system through the front end, unlike traditional software that communicates with other IT systems through the back end. In practice, this means that software robots use IT systems in the same way as humans, repeat the correct steps, and respond to events on the computer screen instead of communicating with the system's application programming interface(API). Designing software that mimics humans to communicate with other software can be less intuitive, but there are many advantages to this approach. First, you can integrate RPA with virtually any software you use, regardless of your openness to third-party applications. Many enterprise IT systems are proprietary because they do not have many common APIs, and their ability to communicate with other systems is severely limited, but RPA solves this problem. Second, RPA can be implemented in a very short time. Traditional software development methods, such as enterprise software integration, are relatively time consuming, but RPAs can be implemented in a relatively short period of two to four weeks. Third, automated processes through software robots can be easily modified by system users. While traditional approaches require advanced coding techniques to drastically modify how they work, RPA can be instructed by modifying relatively simple logical statements, or by modifying screen captures or graphical process charts of human-run processes. This makes RPA very versatile and flexible. This RPA is a good example of the application of digital to intelligence(D2I).

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.322-326
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• 2006

Though human being has ability to percept a full colored vision, the technology of early photography only can produce black and white images. For cinema filming imagery also captured mono tone with black and white, until developed a color film technology. The desire for presenting color imagery and the technique for producing film and color ink, photography and print utilize color on it with noticeable color impact to viewers. It, however, abusing fun colors image each and every printed and filmed imagery, the freshness of eye catching power diminished now. On contrast, color becomes black and white or partially used for making discrepancy among full colored images. This image detected commercial and music video, and it spread to film. To use those bleached color images is for evoking a nostalgia and a visual differentiation. Especially, it can be provocative images brought to audience with that. such as "Anycall", "Dimchae" for CF, and "Schindler's list," and "Sin city" for movie. It is hard to investigate on the color studies for partially used images. Therefore, this study is to research that through CF and film, base on it, to investigate the application for this image. To collect data from survey, it will be established a basic concept for understanding the partial color applying.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.11
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• pp.3514-3523
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• 2009

Before 1990's, Korea had only few colleges that had film and film related majors. As Korean film industry started its marvelous improvement in both commercial and artistic phase, many colleges were interested in this new academic field. They hurried up to launch this new and profitable major; as a result, Korea now has more than hundred colleges and universities that has film related majors. Each college enumerates numbers of academic courses that may look reasonable; they have almost every course a fine film school should provide such as film theory, production, and performance in film. Lots of film schools offer lots of film courses; and they look alike. One unique thing in film major is its vast sub fields and categories. After you decide to study film, you have to select what specific field in film you want to study. Studying film theory and film production can be as different as majoring physics and physical education. The problem Korean colleges are dealing with is that there are too much film schools, and moreover those colleges have similar curriculums that just look like a department store that sells everything. One suggestion is specializing its curriculum in which the school can take advantages using their special conditions. San Francisco Art Institute is one of United States well known private film schools, but many people remember this school as a specialized film school in experimental film. San Francisco where this school is located has had many liberal and experimental artists as the city has been supporting and offering them an environment they can concentrate their work. Naturally, the school has world famous faculty members in experimental film, and students who want to study and make experimental film come to this school from all over the world because they know this school would be the best to study experimental film. There are many film schools in metro Los Angeles area; since its location near Hollywood, no wonder these schools concentrate on film producing and film production. They take advantage of their geographical location to hire film industry professional and to focus on commercial feature film productions. What we can do now to adjust the curriculum in film and film related major in Korean colleges is to adapt new standards in this changed film industry. One school can emphasize digital production while another school focuses on digital intermediate process. But if one school tries to both fields or all fields of film major just like we have done so far, the school could not take care of all the equipment and the faculty that the fields would need. Korean film schools should devide the field in film major and concentrate what they selected. Selection and concentration can be and should be applied in Korean film schools.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.137-173
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• 2019

Modern scientists are trying to find the basic unit of order, fractal geometry, in the complex systems of the universe. Fractal is a term often used in mathematics or physics, it is appropriate as a principle to explain why some models of ultimate reality are represented as multifaceted. Fractals are already widely used in the field of computer graphics and as a commercial principle in the world of science. In this paper, using observations from fractal geometry, I present the embodiment of ultimate reality as understood in Daesoon Thought. There are various models of ultimate reality such as Dao (道, the way), Sangje (上帝, supreme god), Sinmyeong (神明, Gods), Mugeuk (無極, limitlessness), Taegeuk (太極, the Great Ultimate), and Cheonji (天地, heaven and earth) all of which exist in Daesoon Thought, and these concepts are mutually interrelated. In other words, by revealing the fact that ultimate reality is embodied within fractal geometry, it can be shown that concordance and transformation of various models of ultimate reality are supported by modern science. But when the major religions of the world were divided along lines of personality (personal gods) and non-personality (impersonal deities), most religions came to assume that ultimate reality was either transcendental or personal, and they could not postulate a relationship between God and humanity as Yin Yang (陰陽) fractals (Holon). In addition, religions, which assume ultimate reality as an intrinsic and impersonal being, are somewhat different in terms of their degree of Holon realization - all parts and whole restitution. Daesoon Thought most directly states that gods (deities) and human beings are in a relationship of Yin Yang fractals. In essence, "deities are Yin, and humanity is Yang" and furthermore, "human beings are divine beings." Additionally, in the Daesoon Thought, these models of ultimate reality are presented through various concepts from various viewpoints, and they are revealed as mutually interrelated concepts. As such, point of view regarding the universe wherein Holarchy becomes a models in a key idea within perennial philosophy. According to a universalized view of religious phenomena, perennial philosophy was adopted by the world's great spiritual teachers, thinkers, philosophers, and scientists. From this viewpoint, when ultimate reality coincides, human beings and God are no longer different. In other words, the veracity of the theory of ultimate reality that has appeared in Daesoon Thought can find support in both modern science and perennial philosophy.