• 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.

• 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.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.