• Journal of Digital Convergence
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• v.14 no.8
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• pp.555-564
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• 2016

Space perception is generally treated as a problem relevant to the ability to recognize objects. Alternatively, the data from shape perception studies contributes to discussions about the geometry of visual space. This geometry is generally acknowledged not to be Euclidian, but instead, elliptical, hyperbolic or affine, which is to say, something that admits the distortions found in so many shape perception studies. The purpose of this review article is to understand perceived shape and the geometry of visual space in the context of visually guided action. Thus, two prominent approaches that explain the relation between perception and action were compared. It is important to understand the fundamental information of how human perceive visual space and perform visually guided action for the convergence on embodied cognition, and further on artificial intelligence researches.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of Arbitration Studies
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• v.17 no.3
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• pp.145-167
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• 2007

Digital goods are defined as intangible and non-physical goods, composed of a combination of digital signals, electronically represented as 0 and 1. They are also called as digital products, electronic transmissions, information goods, digital contents, computer information, etc. Digital goods are now traded both domestically and internationally as well as on-line and off-line. Korean government revised the Basic Law on Foreign Trade to include digital goods and services as the scope of foreign trade in 2001. Trade volume of digital goods are increasing in Korea. The supply chains of digital goods from producing the components to selling globally to consumers are different from conventional physical goods. Mostly, digital goods are traded on the license basis rather than ownership contract. End User License Agreements(EULAs), such as shrink-wrap, click- wrap, or browser-wrap licenses are very popular in online transactions. Unlike conventional physical goods. the breach of license contract is closely linked with the infringement of intellectual property rights. Digitalized intellectual property is easy to copy and transmit in the cyber space. In cases of legal disputes from the breach of license contract, commercial arbitration or on-line alternative dispute resolutions(ADRs) are regarded as better approach to solve them rather than court sues. For promoting more secure and reliable international trade of digital goods. arbitration clauses should be included in most of license contracts.

• Journal of Digital Convergence
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• v.10 no.3
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• pp.93-98
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• 2012

Literature has showing a phenomenon of the society and the year's issue for a long time. Many critics used index to do not only understand the years' but also just literature. That is, the literature was an essential method to express the society. However, it can be different for each people to have a view point for the literary work. Therefore, people has a self-analysis for the work, and the activity affect that the it can be difficult for people to public their interest for the literary. In this paper, we make new cyber space for social network of the literary and propose a framework that people can discuss their opinion for the literary work. In that time, we make a literary work as digital content.

• Journal of Digital Convergence
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• v.16 no.2
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• pp.299-304
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• 2018

Brand Extension is a leading marketing strategy that makes use of brand assets, and it aims to see the success of a new product of a brand by utilizing the level of consumers' brand awareness, loyalty, resemblance, and image. However, the review of previous studies revealed that there were cases of fashion brands extending into coffee brands, but not vice versa. The study aims to suggest a new proposal to extend the coffee brand, the most preferred brand by consumers, to an effective office space service. It proposes making a napping and working area for the working Starbucks lovers who often go business trips and like to work in a private space. The researcher expects that the study will inform about the efficient manner to use office spaces including shared service and area.

• International Journal of Computer Science & Network Security
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• v.22 no.11
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• pp.222-228
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• 2022

In today's era of digital technologies, the problem of religious communication in the cyberspace is being actualized, since the globality and accessibility of the WWW makes it one of the most effective and promising channels for transmitting various kinds of messages, including those of a religious nature. Today, religious organizations and movements pay the closest attention to the virtual media space, not only using it to attract new followers, but also for religious PR, image-making and branding, informing the world about themselves through news from the life of the organization and its followers. An equally important form of electronic communication in the online sphere is currently the interaction of various religious movements and religious cultures in general, or the dialogue of confessions in particular. Research in the digital space makes it possible to identify important trends in religious spheres based on the analysis of the flow of information on the Internet, to demonstrate the specifics of individual media outlets and the consequences of their activities for interreligious dialogue, to study the role of the Internet in changing religious beliefs, the possibility of changing religious identity, retrospective development of religious enlightenment at the turn of the century, to determine the vectors of possible interreligious interaction and discuss the role of digital technologies in the work of religious structures, to state the need to continue an active dialogue between representatives of religious movements, to hold expert seminars on interreligious dialogue on a regular basis, and to record the risks generated by the digital space. Thus, the coronavirus pandemic served as a background and context, a litmus test and a catalyst for accelerating and intensifying interreligious, interfaith dialogue and dialogue between religious organizations and society.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.105-112
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• 2023

Attempts to embody the three-dimensional world into works have continued without distinguishing between the times and the media, and the purpose is to realize an immersive state rather than the reproduction of reality. It was considered that the flat screen, which is the medium that finally faces the viewer in digital media art, hinders complete immersion, and this study investigated and analyzed the cases of works that give a sense of reality of space beyond the limits of the screen. Using the results of the analysis to produce the work, it was found that the presentation of the realistic space and enhancing immersion in the digital media art field should be viewed not only as visual video content on the screen, but also as an installation suitable for the exhibition environment and the resulting space itself.

• Proceedings of the Korean Institute of Communication Sciences Conference
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• 1988.10a
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• pp.227-232
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• 1988

• Proceedings of the Korea Association of Information Systems Conference
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• 1997.10a
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• pp.635-696
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• 1997

• Journal of Korean Association for Spatial Structures
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• v.9 no.4
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• pp.18-22
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• 2009