• The KIPS Transactions:PartD
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• v.13D no.5 s.108
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• pp.641-650
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• 2006

XML has the characteristics of self-describing and uses DTD or XML schema in order to constraint its structure. Even though the XML schema is only at the stage of recommendation yet, it will be prevalently used because DTD is not itself XML and has the limitation on the expression power. The structure defined by the XML schema as well as the data of the XML documents can vary due to complex reasons. Those reasons are errors in the XML schema design, new requirements due to new applications, etc. Thus, we propose XML schema evolution operators that are extracted from the analysis of the XML schema updates. These schema evolution operators enable the XML schema updates that would have been impossible without supporting tools if there are a large number of XML documents complying the U schema. In addition, these operators includes the function of automatically finding the update place in the XML documents which are registered to the XSE system, and maintaining the XML documents valid to the XML schema rather than merely well-formed. This paper is the first attempt to update XML schemas of the XML documents and provides the comprehensive set of schema updating operations. Our work is necessary for the XML application development and maintenance in that it helps to update the structure of the XML documents as well as the data in the easy and precise manner.

• Journal of Broadcast Engineering
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• v.26 no.3
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• pp.269-282
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• 2021

As the distribution of 3D content such as augmented reality and virtual reality increases, the importance of real-time computer animation technology is increasing. However, the computer animation process consists mostly of manual or marker-attaching motion capture, which requires a very long time for experienced professionals to obtain realistic images. To solve these problems, animation production systems and algorithms based on deep learning model and sensors have recently emerged. Thus, in this paper, we study four methods of implementing natural human movement in deep learning model and kinect camera-based animation production systems. Each method is chosen considering its environmental characteristics and accuracy. The first method uses a Kinect camera. The second method uses a Kinect camera and a calibration algorithm. The third method uses deep learning model. The fourth method uses deep learning model and kinect. Experiments with the proposed method showed that the fourth method of deep learning model and using the Kinect simultaneously showed the best results compared to other methods.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.120-126
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• 2009

As the information age grows rapidly, the amount of digital texts has been increasing as well. It has brought an increasing of visualization case in order to figure out lots of digital texts. Existing visualized design of digital text is merely concentrating on figuration of subject word through adoption of stemming algorithm and word frequency extraction, prominence of meaning of text, and connection in between sentences. So it is a fact that expression of rhythm that can visualize sentimental feeing of digital text was insufficient. Syllable is a phoneme unit that can express rhythm more efficiently. In sentences, syllable is a most basic pronunciation unit in pronouncing word, phase and sentence. On this basis, accent, intonation, length of rhythm factor and others are based on syllable. Sonority, which is most closely associated with definitions of syllable, is expressed through air flow of igniting lung and acoustic energy that is specified kinetic energy into sonority. Seen from this perspective, this study examines phonologic definition and characteristics based on syllable, which is properties of digital text, and research the way to visualize rhythm through diagram. After converting digital text into phonetic symbol by the experiment, rhythm information are visualized into images using degree of resonance, which was started from rhythm in all languages, and using syllable establishment of digital text. By visualizing syllable information, it provides syllable information of digital text and express sentiment of digital text through diagram to assist user's understanding by systematic formula. Therefore, this study is aimed at planning for easy understanding of text's rhythm and realizing visualization of digital text.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.783-793
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• 2015

TV display which existed only in house started to show up out of house around us and now it found naturally its place in everywhere like street, bus, subway and elevator. It is called digital signage which showed up through digitalization of sign, that is, sign board and bulletin board. The distinction of digital sign from existing signs is that the latter one should go through physical process like removal after installation every time its contents are changed but the former one can produce its various outputs flexibly once it is installed. Also existing sign may be static image or 2 or 3 pieces of image to express simple motion while digital sign can contain multi media contents luxurious in design and motion. This paper confined the range of contents in digital signage in bus and subway. It needs to analyze characteristics of mass transportation-people of use, consumer by place and time, accommodation environment for consumer etc and arrange planned contents along with time and place. Developments of dedicated contents suitable to those digital signages will harmonize with place and time and promote the realm of digital signage which provides variety of experience to consumer and with which communication is possible and which is distinctive. Furthermore we may expect the birth of smart signage as a new media, in which fun and art are combined.

• Journal of Broadcast Engineering
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• v.8 no.4
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• pp.410-426
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• 2003

MPEG-21 defines a digital item as an atomic unit lot creation, delivery and consumption in order to provide an integrated multimedia framework in networked environments. It is expected that MPEG-21 standardization makes it Possible for users to universally access user's preferred contents in their own way they want. In order to achieve this goal, MPEG-21 has standardized the specifications for the Digital Item Declaration (DID). Digital Identification (DII), Rights Expression Language (REL), Right Data Dictionary (RDD) and Digital Item Adaptation (DIA), and is standardizing the specifications for the Digital Item Processing (DIP), Persistent Association Technology (PAT) and Intellectual Property Management and Protection (IPMP) tot transparent and secured usage of multimedia. In this paper, we design an MPEG-21 terminal architecture based one the MPEG-21 standard with DID, DIA and DIP, and implement with the MPEG-21 terminal. We make a video summarization service scenario in order to validate ow proposed MPEG-21 terminal for the feasibility to of DID, DIA and DIP. Then we present a series of experimental results that digital items are processed as a specific form after adaptation fit for the characteristics of MPEG-21 terminal and are consumed with interoperability based on a PC and a PDA platform. It is believed that this paper has n important significance in the sense that we, for the first time, implement an MPEG-21 terminal which allows for a video summarization service application in an interoperable way for digital item adaptation and processing nth experimental results.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Cartoon and Animation Studies
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• s.36
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• pp.237-257
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• 2014

This study is the process of performing the interdisciplinary fusion study between multiple fields by identifying the status on the previous artistic education considering the brain scientific mechanism of image creativity and brain-based learning principles. In recent years, producing the educational methods of each field as the fusion study activities are emerging as the trend and thanks to such, the results of brain-based educational fusion studies are being presented for each field. It includes artistic fields such as music, art and dance. In other words, the perspective is that by understanding the operating principles of the brain while creativity and learning is taking place, when applying various principles that can develop the corresponding functions as a teaching method, it can effectively increase the artistic performance ability and creativity. Since the animation drawing should be able to intuitively recognize the elements of movement and produce the communication with the target beyond the delineative perspective of simply drawing the objects to look the same, it requires the development of systematic educational method including the methods of communication, elements of higher cognitive senses as well as the cognitive perspective of form implementation. Therefore, this study proposes a literature study results on the artistic education applied with brain-based principles in order to design the educational model considering the professional characteristics of animation drawing. Therefore, the overseas and domestic trends of the cases of brain-based artistic education were extracted and analyzed. In addition, the cases of artistic education studies applied with brain-based principles and study results from cases of drawing related education were analyzed. According to the analyzed results, the brain-based learning related to the drawing has shown a common effect of promoting the creativity and changes of positive emotion related to the observation, concentration and image expression through the training of the right brain. In addition, there was a case of overseas educational application through the brain wave training where the timing ability and artistic expression have shown an enhancement effect through the HRV training, SMR, Beta 1 and neuro feedback training that strengthens the alpha/seta wave and it was proposing that slow brain wave neuro feedback training contributes significantly in overcoming the stress and enhancing the creative artistic performance ability. The meaning of this study result is significant in the fact that it was the case that have shown the successful application of neuro feedback training in the environment of artistic live education beyond the range of laboratory but the use of the machine was shown to have limitations for being applied to the teaching methods so its significance can be found in providing the analytical foundation for applying and designing the brain-based learning principles for future animation drawing teaching methods.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.36-48
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• 2010

The objectives of this study are to research and analyze the positioning of Mt. Back Hwa(白華山) and the characteristics of its neighboring cultural scenery based on the Two Seated Buddah Temple, a small Buddhist temple of Taeul in Taean and to view both landscape geographic codes and religious attractions over Mt. Back Hwa by discussing its expression and meaning for the scenery scattered or nested over this districts. The panoramic view of west shows the character of Mt. Back Hwa as a magnanimity of Buddhist Goddess of Mercy which is viewed as a view point field no less than its location as a landscape target and its singularity as a rocky mountain. The ancient castle, signal beacon post and the small Buddhist temple of Taeul to be read importantly in the old map and SinjeungDongkukyeojiseungram(新增東國輿地勝覽) form the core of place identity, and a number of carve(engrave) letters such as Eopungdae(御風臺), Youngsadae(永思臺), etc. show the prospect of this mountain and monumentality derived from place characteristics. In addition removing of Taeiljeon, a portrait scroll of Dangun, national ancestor makes possible to guess the national status hold by Mt. Back Hwa in advance and to know that it has symbiotic relationship with indigenous religion and shares with the universal locality which have been continued for a long time through a portrait scroll of Dangun enshrined in Samsunggak. More than anything else, however the Rock-carved Buddha Triad in Taean, Giant Buddha of Baekjae era enshrined in the small Buddhist temple of Taeul is not only why Mt. Back Hwa, magnanimity of Buddhist Goddess of Mercy exists but also a signifier. In spite of such a placity, the union ideas of confucianism, buddhism and doctrinism of buddhism prevailed in the Late Joseon Dynasty allows the cultural phenomenon of taoism to be read in the same weight through Ilsogae(一笑溪) and Gammodae(感慕臺) which are mountain stream and pond area respectively centered in the carve letter, 'Taeeuldongcheon(太乙洞天)' constructed in front of the small Buddhist temple of Taeul, the Baduk board type of rock carvings engraved over them and a number of traces of carve letters made by confucian scholars since the Middle of Joseon Dynasty. The reason such various cultural sceneries are mixed in Mt. Back Hwa is in the results of inheritance of religious places and fusion of sprit of the times, and the various type of cultural scenery elements scattered in Mt. Back Hwa are deemed as unique geographic code to understand the multi-layered placity and the characteristics of scenery of Mt. Back Hwa in Taean.

• Cartoon and Animation Studies
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• s.20
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• pp.75-86
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• 2010

Recently, as the number of female players has increased rapidly, the electronic gaming industry has begun to look at ways to appeal to the largely untapped female market. According to the latest game market investigative report by China Internet Network Information Center (CNNIC), the total number of game players in China increased by 24.8% in 2009, reached 69,130,000 people, and 38.9% of them are female players. This growth in the number of female player is corroborated by a series of investigative reports from IResearch Company in Shanghai, China: from 2003 to 2009, the number of female players grew from 8% to more than 49%. Therefore, no matter how much attention the game production companies have given to male players or how they have ignored the female players before, the companies would be sensible to face up this reality and adjust their marketing policy a bit more. This article analyzes gender preferences in video games which shows that male players are more likely to be attracted to elements of aggression, violence, competition and fast action in electronic game-playing, while female players are drawn to emotional and social aspects of the games such as an understanding of character relationships. The literatures cited indicates that female players also show apparent preference for games with familiar environments, games that allow players to work together, games that have more than one way to win, and games in which characters do not die. It also discusses the characteristics of female-friendly games from the aspect of emotion, pointing out that the simulation games involving pet, dressing-up, and social simulation games are very popular with female players. Because these are the most suitable game types to fill with emotions of love, share, jealousy, superiority, mystery, these are absolutely attractive to female players. Finally, in accord with the above, I propose some principles of designing female-oriented games, including presenting a good-looking leading character, making the story interesting with "live" NPCs(Non-Playing Characters), and finding ways to satisfy female nature instincts such as taking care of others and the inborn interest of classifying and selecting.