• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.44-54
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• 2015

The purpose of this study is to analyze the images of children and adults that is reflected in TV commercial advertisements. For this purpose, 241 public TV advertisements were collected from the domestic ads information sites. The analysis criteria used for this study was the one modified from the ads analysis tool developed by Young-hee Ha(2011). The results showed that the number of ads employing the child model was varied according to the product item. The child model appeared the most in the ads for food/beverage and secondly, the ones for computer/electric home appliances. Furthermore, the child model behaved very similarly to the adults in the ads, especially in the aspect of positive communication. And both adult and a child models tended to have the main role in ads. Regarding the relationships among model characters, cooperative relationship between an adult and a child appeared the most and there were lots of family relationships. The results imply that a child in our society is becoming a considerable family member referred for making decision in purchasing commercial products. In addition, it is discussed that the child's image reflected in the ads would have influence on a child viewer's self image.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.39 no.6
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• pp.507-513
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• 2021

GPR (Ground Penetrating RADAR) is a sensor that inspects the pavement state of roads, sinkholes, and underground pipes. It is widely used in road management. MMS (Mobile Mapping System) creates a detailed and accurate road map of the road surface and its surroundings. If both types of data are built in the same area, it is efficient to construct both ground and underground spatial information at the same time. In addition, since it is possible to grasp the road and important facilities around the road, the location of underground pipelines, etc. without special technology, an intuitive understanding of the site is also possible, which is a useful tool in managing the road or facilities. However, overseas equipment to which this latest technology is applied is expensive and does not fit the domestic situation. LiDAR (Light Detection And Raging) and GNSS/INS (Global Navigation Satellite System / Inertial Navigation System) were synchronized in order to replace overseas developed equipment and to secure original technology to develop domestic equipment in the future, and GPR data was also synchronized to the same GNSS/INS. We developed software that performs georeferencing using the location and attitude information from GNSS/INS at the time of acquiring synchronized GPR data. The experiments were conducted on the road site by dividing the open sky and the non-open sky. The road and surrounding facilities on the ground could be easily checked through the 3D point cloud data acquired through LiDAR. Georeferenced GPR data could also be viewed with a 3D viewer along with point cloud data, and the location of underground facilities could be easily and quickly confirmed through GPR data.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• The Journal of the Korean dental association
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• v.50 no.4
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• pp.203-210
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• 2012

Objective: The aim of this study was to investigate the incidence of the C-shaped canal of permanent mandibular second molar (PMSM) in Korean sub-population using Cone-Beam CT (CBCT) data and analyze the types of C-shaped canal. Materials & Methods: The protocol for this study was approved by the Institutional Review Board at the Pusan National University Hospital (E-2011039). Among the CBCT images taken of patients who visited the St. Bennedict Dental Hospital (Busan, Korea) from May 2008 to April 2011 for implant surgery and surgical removal of impacted teeth, high-quality CBCTs from 705 patients (361 male and 342 female) were screened and 607 PMSMs of 383 patients were evaluated retrospectively. All PMSMs were anatomically analyzed in detail by using image viewer software (EasyDent; Vatech). PMSMs were evaluated in the axial plane to investigate the shape of root and canals. The C-shaped canals were classified into five types. The total incidence, gender ratio, bilateral and unilateral appearance. and the correlation between right-side and left-side occurrences of C-shaped PMSMs were computed and compared statistically using the chi-square test. Results: Among the 607 PMSMs of 383 CBCTs of 187 females and 196 males, 198 PMSMs(32.6%) had C-shaped root and 158 PMSMs(26.0%) had C-shaped canals. The shape of C-shaped root canals at the furcalion level did not have significant change at the level of mid root (P<0.0001). Female had more prevalence of C-shaped root canals than male (P<0.0001). The prevalence of bilateral occurrence of C-shaped root canals was higher than unilateral occurrence. Conclusions: The occurrence of C-shaped PMSMs among a Korean population was 32.6% and was higher than other countries and ethnicities. Understanding the prevalence of PMSMs with a C-shaped root and/or canal in a Korean population may be useful for successful endodontic treatments.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.48 no.6
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• pp.18-26
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• 2011

Debates concerning the competitive edge of leading 3DTV technology of the shutter glasses (SG) 3D and the film-type patterned retarder (FPR) are flaring up. Although SG technology enables Full-HD 3D vision, it requires complex systems including the sync transmitter (emitter), the sync processor chip, and the LCD lens in the active shutter glasses. In addition, the transferred sync-signal is easily affected by the external noise and a 3DTV viewer may feel flicker-effect caused by cross-talk of the left and right image. The operating current of the sync processor in the 3DTV active shutter glasses is gradually increasing to compensate the sync reconstruction error. The proposed chip is a low-power hardware sync processor based discrete-event SoC(system on a chip) designed specifically for the 3DTV active shutter glasses. This processor implements the newly designed power-saving techniques targeted for low-power operation in a noisy environment between 3DTV and the active shutter glasses. This design includes a hardware pre-processor based on a universal edge tracer and provides a perfect sync reconstruction based on a floating-point timer to advance the prior commercial 3DTV shutter glasses in terms of their power consumption. These two techniques enable an accurate sync reconstruction in the slow clock frequency of the synchronization timer and reduce the power consumption to less than about a maximum of 20% compared with other major commercial processors. This article describes the system's architecture and the details of the proposed techniques, also identifying the key concepts and functions.

• 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.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.120-136
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• 2016

This study, views the color of scenery not as a static state, but rather as a continuous sequence of perceptions that incorporates the concept of time. This study derived techniques to quantitatively analyze the flow and data from this sequence. By utilizing this, urban color trends can be based on openness. This is very close to what would be experienced by an actual viewer: it extracted color data and visual amount from frames at 2-second intervals by shooting a video of the color sequence of the city as seen from both the left and right sides from the inside of the monorail (line 3 of the Daegu urban railway). These images were classified by color group, brightness, chroma, high chroma distribution derived techniques such as openness of space, brightness level, clarity level, high-chroma distribution and code, advantage of visual amount, dominant factor exposure, hot and cold color image and dynamic of sequence rhythm. During the derived sequence, the data determines the openness in the visual amount of sky and it was found that the tendency of the colors of the city was opening regression analysis. The more colorful the city is opening the brightness is lowered, the chroma increased slightly, cold colors significantly increased, which also had a very deep relationship with Lynch enclosed proportion, color change of the city trends through the actual scenery could grasp in more detail.

• Journal of the Korea Society of Computer and Information
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• v.18 no.10
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• pp.109-119
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• 2013

An unmanned ground vehicle(UGV) today plays a significant role in both civilian and military areas. Predominantly these systems are used to replace humans in hazardous situations. To take unmanned ground vehicles systems to the next level and increase their capabilities and the range of missions they are able to perform in the combat field, new technologies are needed in the area of command and control. For this reason, we present war field simulator based on information fusion technology to efficiently control UGV. In this paper, we present the war field simulator which is made of critical components, that is, simulation controller, virtual image viewer, and remote control device to efficiently control UGV in the future combat fields. In our information fusion technology, improved methods of target detection, recognition, and location are proposed. In addition, time reduction method of target detection is also proposed. In the consequence of the operation test, we expect that our war field simulator based on information fusion technology plays an important role in the future military operation significantly.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.979-986
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• 2022

In this study, the virtual exhibition using 3D architectural space was analyzed in terms of the viewer's experience. For this purpose, the analysis items of the virtual architectural space include whether the actual architectural space is reproduced, the introduction of surreal elements, the degree of freedom of movement and circulation, the level of photorealism of spatial expression, the level of reproduction of the exhibits and information provision method, and the interaction with other participants. Six virtual exhibition projects designed by a well-known architect were selected and analyzed. Three directions were found through the analysis. First, even when designing a virtual exhibition space with a high degree of freedom, there is a tendency to present a familiar architectural environment. Second, the current method of creating a virtual architectural space is that the method using a 360-degree rendering image and the method using a game engine coexist with pros and cons. Third, the interaction between participants in the virtual exhibition is implemented only by using a game engine. It is expected that the virtual space production environment using the game engine to be developed will become more advantageous in the future.