• Journal of Intelligence and Information Systems
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• v.17 no.3
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• pp.203-219
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• 2011

Previously common users just want to watch the video contents without any specific requirements or purposes. However, in today's life while watching video user attempts to know and discover more about things that appear on the video. Therefore, the requirements for finding multimedia or browsing information of objects that users want, are spreading with the increasing use of multimedia such as videos which are not only available on the internet-capable devices such as computers but also on smart TV and smart phone. In order to meet the users. requirements, labor-intensive annotation of objects in video contents is inevitable. For this reason, many researchers have actively studied about methods of annotating the object that appear on the video. In keyword-based annotation related information of the object that appeared on the video content is immediately added and annotation data including all related information about the object must be individually managed. Users will have to directly input all related information to the object. Consequently, when a user browses for information that related to the object, user can only find and get limited resources that solely exists in annotated data. Also, in order to place annotation for objects user's huge workload is required. To cope with reducing user's workload and to minimize the work involved in annotation, in existing object-based annotation automatic annotation is being attempted using computer vision techniques like object detection, recognition and tracking. By using such computer vision techniques a wide variety of objects that appears on the video content must be all detected and recognized. But until now it is still a problem facing some difficulties which have to deal with automated annotation. To overcome these difficulties, we propose a system which consists of two modules. The first module is the annotation module that enables many annotators to collaboratively annotate the objects in the video content in order to access the semantic data using Linked Data. Annotation data managed by annotation server is represented using ontology so that the information can easily be shared and extended. Since annotation data does not include all the relevant information of the object, existing objects in Linked Data and objects that appear in the video content simply connect with each other to get all the related information of the object. In other words, annotation data which contains only URI and metadata like position, time and size are stored on the annotation sever. So when user needs other related information about the object, all of that information is retrieved from Linked Data through its relevant URI. The second module enables viewers to browse interesting information about the object using annotation data which is collaboratively generated by many users while watching video. With this system, through simple user interaction the query is automatically generated and all the related information is retrieved from Linked Data and finally all the additional information of the object is offered to the user. With this study, in the future of Semantic Web environment our proposed system is expected to establish a better video content service environment by offering users relevant information about the objects that appear on the screen of any internet-capable devices such as PC, smart TV or smart phone.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.