• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2008.10a
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• pp.532-535
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• 2008

The requirement of Digital Culture Content(Movie, Music, Animation, Digital TV, Exhibition and etc.) is increasing so variety and quantity of content is also increasing. The Movie what majority of the digital Content is developing of technology and data. In the result, the efficient retrieval service has required and user want to use a recommendation engine and semantic retrieval methods through the recommendation system. Therefore, this paper will suggest analysing trait element of digital content data, building of retrieval technology, analysing and retrieval technology base on KANSEI vocabulary and etc. For the these, we made a extraction technology of trait element based on semantics and KANSEI processing algorithm based on color information.

• International journal of advanced smart convergence
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• v.9 no.3
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• pp.78-84
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• 2020

Due to social distancing caused by COVID 19, music concerts have not been allowed at home and abroad, and it is not known when overseas concerts will be able to resume unless the pandemics calm down, even if they are available. Meanwhile, people consume much more content through online services such as Netflix and YouTube than before. Under these circumstances, the music industry expects the virtual livestreamed performance to restore sluggish live performances again and bring about a digital renaissance. It also leads to the issue of reestablishing a copyright system regarding a livestreamed performance and of preparing a new rate of royalty standards for the use of works in OTT. In addition, a multi-territorial licensing of r ights in musical works is necessary to resolve copyright issues efficiently by applying the same term s to all countries from where the audience comes. In this paper, I examine the legal nature and the decision of copyright fees of performances as an integral part of the music industry.

• International Journal of Advanced Culture Technology
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• v.12 no.2
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• pp.375-385
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• 2024

In the context of contemporary digital media, virtual influencers have become an increasingly important form of socialization and entertainment, in which emotional expression is a key factor in attracting viewers. In this study, we take Luo Tianyi, a Chinese virtual influencer, as an example to explore how emotions are expressed and perceived through facial expressions in different types of videos. Using Paul Ekman's Facial Action Coding System (FACS) and six basic emotion classifications, the study systematically analyzes Luo Tianyi's emotional expressions in three types of videos, namely Music show, Festivals and Brand Cooperation. During the study, Luo Tianyi's facial expressions and emotional expressions were analyzed through rigorous coding and categorization, as well as matching the context of the video content. The results show that Enjoyment is the most frequently expressed emotion by Luo Tianyi, reflecting the centrality of positive emotions in content creation. Meanwhile, the presence of other emotion types reveals the virtual influencer's efforts to create emotionally rich and authentic experiences. The frequency and variety of emotions expressed in different video genres indicate Luo Tianyi's diverse strategies for communicating and connecting with viewers in different contexts. The study provides an empirical basis for understanding and utilizing virtual influencers' emotional expressions, and offers valuable insights for digital media content creators to design emotional expression strategies. Overall, this study is valuable for understanding the complexity of virtual influencer emotional expression and its importance in digital media strategy.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.490-501
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• 2018

Rapid technological innovation led by digitization has significantly changed the business of digital content goods, and has led to the emergence of new forms of services, such as music streaming. However, whether the streaming service is a threat to the traditional downloading service is still under debate. In this study, we examine whether music downloading is a substitute for or a complement to music streaming by investigating the moderating effects of LTE technology penetration. Using a unique dataset on the online music market from a dominant music platform in Korea, we found that music downloading services are complementary to music streaming services, but this complementary relationship is significantly and positively moderated by the introduction of LTE technology.

• Journal of Information Technology Applications and Management
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• v.20 no.3_spc
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• pp.295-314
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• 2013

These days a great mix of traditional and digital contents such as movie, broadcasting, advertisement, e-books, music, game, animation, cartoon, character, knowledge information, and art performance are widely available. Many more are yet to come, with improved quality and added features. It is expected that all these contents will be evolved into a new breed of convergence content through the process of consolidation, expansion, integration, and recreation. Across the digital ecosystem, a new formula is being added to the industrial structure : 'Information/Content-Platform/Device-Goods/Service.' In the near future, as a result of technological innovation and convergence, the business sector will lose its boundaries as well, as businesses will be forced to look beyond the product itself and focus more on multi-functionality. Especially, in the era of creative economy, more policies need to be crafted in order to procure a new growth engine for the future with the agenda for convergence between humanities and technology. Therefore, the purpose of this paper is to analyze the concept, factors, elements, types, and cases of convergence, which are the essence of content convergence. This analysis, with its focus on the convergence process, will help identify the effects and limits of content convergence as well as the prospects for convergence contents in the smart ecosystem under the creative economic system.

• Journal of Intelligence and Information Systems
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• v.17 no.2
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• pp.97-107
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• 2011

Nowadays there are a lot of issues about copyright infringement in the Internet world because the digital content on the network can be copied and delivered easily. Indeed the copied version has same quality with the original one. So, copyright owners and content provider want a powerful solution to protect their content. The popular one of the solutions was DRM (digital rights management) that is based on encryption technology and rights control. However, DRM-free service was launched after Steve Jobs who is CEO of Apple proposed a new music service paradigm without DRM, and the DRM is disappeared at the online music market. Even though the online music service decided to not equip the DRM solution, copyright owners and content providers are still searching a solution to protect their content. A solution to replace the DRM technology is digital audio watermarking technology which can embed copyright information into the music. In this paper, the author proposed a new audio watermarking algorithm with two approaches. First, the watermark information is generated by two dimensional barcode which has error correction code. So, the information can be recovered by itself if the errors fall into the range of the error tolerance. The other one is to use chirp sequence of CDMA (code division multiple access). These make the algorithm robust to the several malicious attacks. There are many 2D barcodes. Especially, QR code which is one of the matrix barcodes can express the information and the expression is freer than that of the other matrix barcodes. QR code has the square patterns with double at the three corners and these indicate the boundary of the symbol. This feature of the QR code is proper to express the watermark information. That is, because the QR code is 2D barcodes, nonlinear code and matrix code, it can be modulated to the spread spectrum and can be used for the watermarking algorithm. The proposed algorithm assigns the different spread spectrum sequences to the individual users respectively. In the case that the assigned code sequences are orthogonal, we can identify the watermark information of the individual user from an audio content. The algorithm used the Walsh code as an orthogonal code. The watermark information is rearranged to the 1D sequence from 2D barcode and modulated by the Walsh code. The modulated watermark information is embedded into the DCT (discrete cosine transform) domain of the original audio content. For the performance evaluation, I used 3 audio samples, "Amazing Grace", "Oh! Carol" and "Take me home country roads", The attacks for the robustness test were MP3 compression, echo attack, and sub woofer boost. The MP3 compression was performed by a tool of Cool Edit Pro 2.0. The specification of MP3 was CBR(Constant Bit Rate) 128kbps, 44,100Hz, and stereo. The echo attack had the echo with initial volume 70%, decay 75%, and delay 100msec. The sub woofer boost attack was a modification attack of low frequency part in the Fourier coefficients. The test results showed the proposed algorithm is robust to the attacks. In the MP3 attack, the strength of the watermark information is not affected, and then the watermark can be detected from all of the sample audios. In the sub woofer boost attack, the watermark was detected when the strength is 0.3. Also, in the case of echo attack, the watermark can be identified if the strength is greater and equal than 0.5.

• Journal of Advanced Information Technology and Convergence
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• v.9 no.2
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• pp.41-54
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• 2019

The cinema circuit is facing a digital, network, and mobile age, which expands non-theater accessibility to movies. Application platforms are situated as the most competitive business model that provide digital content such as games, music, books, and movies. Consumers can acquire content-related information not just offline, but online as well. Therefore, item information provided by application platforms is required. The information provided by application platforms consists of richly descriptive information such as storyline summary, consumer reviews, and related articles, while non-descriptive normative information covers data such as sales ranking, release date, genre, rental or purchase cost, domestic/foreign classification, consumer rating, number of consumer ratings, film rating, and so on. In this study, we surveyed and analyzed statistically the correlation between real-time sales ranking and other comparable non-descriptive information.

• Journal of Information Technology Applications and Management
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• v.30 no.1
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• pp.115-126
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• 2023

In various fields such as art, design, music, film, sports, games, and fashion, NFTs (Non-Fungible Tokens) are creating new economic value through trading platforms dedicated to NFT art and content. In this article, I analyze the current state of blockchain technology and NFT art content in the context of an expanding market for blockchain-based NFT art content in the metaverse. I also propose several tasks based on the economic and industrial logic of technological innovation. The first task proposed is to integrate cultural arts on blockchain, metaverse, and NFT platforms through digital innovation, instead of separating or distinguishing between creative production and consumption. Before the COVID-19 pandemic, there was a clear separation between creators and consumers. However, with the rise of Web 3.0 platforms, any user can now create and own their own content. Therefore, it is important to promote a collaborative and integrated approach to cultural arts production and consumption in the blockchain and metaverse ecosystem. The second task proposed is to align the legal framework with blockchain-based technological innovation. The enactment and revision of relevant laws should focus on promoting the development of the NFT trading platform ecosystem, rather than merely regulating it for user protection. As blockchain-based technology continues to evolve, it is important that legal systems adapt to support and promote innovation in the space. This shift in focus can help create a more conducive environment for the growth of blockchain-based NFT platforms. The third task proposed is to integrate education on digital arts, including metaverse and NFT art contents, into the current curriculum. This education should focus on convergence and consilience, rather than merely mixing together humanities, technology, and arts. By integrating digital arts education into the curriculum, students can gain a more comprehensive understanding of the potential of blockchain-based technologies and NFT art. This article examines the digital technological innovation such as blockchain, metaverse, and NFT from an economic and industrial point of view. As a limitation of this research, the critical mind such as philosophical thinking or social criticism on technological innovation is left as a future task.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.311-316
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• 2020

is a mobile application based SNS video platform that launched its service in China in 2016. At the beginning of the service, TikTok is a music video content platform, and later, it evolved into a social platform that provides a wide variety of contents, and the process of creating, producing, and editing videos was easily provided. Since started its service, it has analyzed various social phenomena that have appeared to young people and the types and characteristics of video content popular in this app. The demand for vertical video content in the form of short clip is on the rise rapidly, which can be expected to improve the quality of video content in accordance with the development of mobile-based imaging technology. Useful for mobile based on the creative video producers through this study data are to be used to.

• The Journal of the Korea Contents Association
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• v.22 no.5
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• pp.319-326
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• 2022

As digital content services, especially OTT(over-the-top) video services, diffuse rapidly, so do smartTVs. Based on the indirect network effect theory and the complementarity theory, this study explores the relationship between digital content services and smartTV. Using the Media panel dataset, this study analyzes how the usage of digital content service (OTT usage, OTT usage volume, the usage of various OTT service types, and online game/music/education/news service) affects smartTV usage. This study shows that OTT usage and its usage volume is positively associated with smartTV usage, and that the usage of various OTT service types is positively associated with smartTV usage compared with non-OTT users. As for online content services, the usage of online education service is positively associated with smartTV usage while the usage of online news service is associated negatively. These results support the indirect network effect theory and the complementarity theory.