• Proceedings of the Korean DIstribution Association Conference
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• 2007.08a
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• pp.3-26
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• 2007

Recently, both scholars and marketers have asserted the importance of boundary spanning behaviors, such as external representation, being vocal advocates to outsiders of the organization's image, goods, and services, internal influence, taking individual initiative in communications to the firm and co-workers to improve service delivery by the organization, co-workers, and oneself, and service delivery, serving customers in a conscientious, responsive, flexible, and courteous manner. However, there is lack of study dealing with bourdary spanning behaviors bewteen organizational dyads, in which boundary spanning behaviors are expected to have important roles. The objectives of this paper is to investigate these important concerns with prior research by developing a theoretical model predicting how distinct buyer's boundary spanning behaviors occur. To be concrete, this paper develops a seller characteristics-based model of the attitudinal antecedents of three conceptually distinct forms of boundary spanning behaviors, and tests the hypothesized differential effects of seller characteristics on the three forms of boundary spanning behaviors, and investigates the extent to which these relationships are mediated by relationship satisfaction and organizational commitment. For the purpose of empirical testing, 420 respondents of leading automobile dealers, dining franchisees, industrial material retailers in Korea were surveyed and the analysis utilizing structural equation model indicated that communication quality, fairness, and marketing program dynamism had positive effects on buyer's boundary spanning behaviors via relationship satisfaction and organizational commitment. In addition, boundary spanning behaviors occurred more in contractural and corporate distribution channel than in conventional distribution channel.

• Cartoon and Animation Studies
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• s.30
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• pp.1-25
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• 2013

The present study explores the problem of the placelessness and alienation through spaces of redevelopment in South Korean animation film since the 2000's. Actual space in South Korean society has been destroyed and changed unceasingly, and, in that space, humans have experienced existential conflict. While the swift development of digital technology has transcended physical restrictions to form one great network, humans are still limited as materially based beings. The recent steps in South Korean animation film are noteworthy because sociocultural changes since the 1990's and the relationship between the individual and the system are perceived in ways different from those of the past. and , the works analyzed in the present study, reveal the special sense of place in South Korean society, where the destructive reorganization of space leads to the instability of life. By intentionally bypassing a sense of place and the authority automatically bestowed on representational images, these works prompt the viewer to reexamine the relationship between reality and images. Space in these two works are presented representationally but immediately destroyed, and humans or the characters in the works accept this unfeelingly. The loss of place, which is committed by the massive system, and listless humans' weakness and alienation in response are depicted as signs of sociocultural abnormality. By showing the destructive loss of place and individuals who respond with self-anesthesia and self-estrangement, these works open viewers' eyes to South Korean society, where not only social alienation but also self-alienation is occurring. By perceiving South Korean animation film as a sociocultural phenomenon and analyzing it through the concepts of the placelessness and alienation, the present study seeks to expand further discussions on animation film.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.47 no.1
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• pp.35-43
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• 2010

1D PCA utilized in the face appearance-based face recognition methods such as eigenface-based face recognition method may lead to less face representative power and more computational cost due to the resulting 1D face appearance data vector of high dimensionality. To resolve such problems of 1D PCA, 2D PCA-based face recognition methods had been developed. However, the face representation model obtained by direct application of 2D PCA to a face image set includes both face common features and face distinctive identity features. Face common features not only prevent face recognizability but also cause more computational cost. In this paper, we first develope a model of a face distinctive identity feature subspace separated from the effects of face common features in the face feature space obtained by application of 2D PCA analysis. Then, a novel robust face recognition based on the face distinctive identity feature subspace model is proposed. The proposed face recognition method based on the face distinctive identity feature subspace shows better performance than the conventional PCA-based methods (1D PCA-based one and 2D PCA-based one) with respect to recognition rate and processing time since it depends only on the face distinctive identity features. This is verified through various experiments using Yale A and IMM face database consisting of face images with various face poses under various illumination conditions.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.521-529
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• 2016

This paper presents the historical development process and expressive style of motion graphics which are intended to artistic expression, and discusses the value of artistic expressions in motion graphics through the works and activities of F5 and Semi-Permanent which are the representative organization of that. Commercial use of digital motion graphics has been rapidly widespread and used in most of the picture contents by changes in the digital video production environment with the development of the computer. Motion graphics begins with a graphic design applied to the motion graphic content and is transferred from the abstract representation of the animation at the same time. Since then motion graphics have been developed as an independent genre on the basis of graphic design and animation, and take the important position for the understanding and development of the contemporary design and content industry. Moreover, the motion graphics which present the experiment of various techniques and the aspect of mixed genres contribute to the development and diversification of the visual image. This paper is covered on not only F5 and Semi-Permanent that have published experimental artistic motion graphics but also the analysis of the developed ways and expressive patters to produce experimental motion graphics of their works. Furthermore, it discusses the experimental artistic value of these works.

• Journal of Broadcast Engineering
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• v.25 no.1
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• pp.25-35
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• 2020

Recently, the development of image processing technology, as well as hardware performance, has been continuing the research on 3D point processing technology that provides users with free viewing angle and stereoscopic effect in various fields. Point cloud technology, which is a type of representation of 3D point, has attracted attention in various fields because it can acquired/expressed point precisely. However, since Hundreds of thousands, millions of point are required to represent one 3D point cloud content, there is a disadvantage that a larger amount of storage space is required than a conventional 2D content. For this reason, the MPEG (Moving Picture Experts Group), an international standardization organization, is continuing to research how to efficiently compress, store, and transmit 3D point cloud content to users. In this paper, a V-PCC bitstream generated by a V-PCC (Video-based Point Cloud Compression) encoder proposed by the MPEG-I (Immersive) group is composed of an MPU (Media Processing Unit) defined by the MMT. In addition, by extending the signaling message defined in the MMT standard, a parameter for a segmented transmission method of the 3D point cloud content by area and quality parameters considering the characteristic of the 3D point cloud content, so that the quality parameters can be selectively determined according to the user's request. Finally, in this paper, we verify the result through design/implementation of the verification platform based on the proposed technology.

• Cartoon and Animation Studies
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• s.35
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• pp.347-374
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• 2014

The aim of this article is to consider the future of industrialization of Augmented Reality contents focusing on cinematic imagination of films that used Augmented Reality techniques and artistic imagination of Augmented Reality Arts in the 21st century. The film showing future technology through cinematic imagination plays an role in the presentation of future vision important. Augmented Reality Arts show the big picture of future arts, future aspect of society, and future culture by using technically possible present technology. I classified the researched films according to Augmented Reality technique. It is expected that Gesture Recognition will develop with transparent display device techniques, Hologram techniques will be changed into individualized communication styles, Biometrics will be able to evolve into multi-Biometrics, and Wearable Computer will develop in the aspect of physical body augmentation and then industrialize. In Augmented Reality Arts, it seems that the various utilization of avatar will be related to Hologram, the utilization of the physiological phenomenon of the human body will be related to Biometrics, the mixture of reality and virtual reality will utilize display devices through Gesture Recognition, and a new experiment of HMD(Head-Mounted Display) will industrialize with the diversification of Wearable Computer. Augmented Reality contents created through the imagination and representation in the films and arts take a role in helping human life, and, at the same time, show the future image industrialized in the way of combination between human and environment without a medium.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Journal of the Korean Institute of Intelligent Systems
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• v.24 no.5
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• pp.548-553
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• 2014

In order to evaluate the performance of arrow that manufactures through production process, it is used that personal experiences such as hunters who have been using bow and arrow for a long time, technicians who produces leisure and sports equipment, and experts related with this industries. Also, the intensity of arrow's impact point which obtains from repeated shooting experiments is an important indicator for evaluating the performance of arrow. There are some ongoing researches for evaluating performance of arrow using intensity of the arrow's impact point and the arrow's flying image that obtained from high-speed camera. However, the research that deals with mutual relation between distribution of the arrow's impact point and characteristics of the arrow (length, weight, spine, overlap, straightness) is not enough. Therefore, this paper suggests both the system that could describes the distribution of the arrow's impact point into numerical representation and the correlation model between characteristics of arrow and impact points. The inputs of the model are characteristics of arrow (spine, straightness). And the output is MAD (mean absolute distance) of triangular shaped coordinates that could be obtained from 3 times repeated shooting by changing knock degree 120. The input-output data is collected for learning the correlation model, and ANN (artificial neural network) is used for implementing the model.

• Korean journal of communication and information
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• v.47
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• pp.120-147
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• 2009

The purpose of this paper is to promote bilateral friendly relations, the elements that hinder Hate Korea wave's(Kenkanryu) status and an analyzation of the characteristics of its causes and solutions for it. The Hate Korea wave is to be discussed in the fountain Hate Korea wave 2ch(2channel, ni channeru) acquaintances of information and representation to analyze the causes of this Japanese anti-Korean thinking. All of society should be aware of the differences and see what we have in common. I researched discussions of 2ch information and the content of other similar media. The expression was very violent. However, there was both general awareness of a gap between criticism and support. The gap was about what is not unusual on the Internet and not to be greatly concerned about. I also compares anti-Korean's awareness to Korea with general Japanese's, and finds that there are gap between them. For example by analyzing general Japanese's awareness we can find 18% of people who criticize the Hate Korea wave or have positive image of Korea. futhermore the proportion of anti-Korean contents in internet is not very high, so we don't have to worrying about the phenomenon seriously. but because of the following three points, there are sufficient needs to concern about the phenomenon constantly. First, sources of Hate Korea wave are traditional media. Second, the consumers of Hate Korea wave are mainly young generation who will make future relation of two countries. And last, Hate Korea wave include potential power to explode when certain conditions are met.