• The Journal of the Korea Contents Association
• /
• v.22 no.1
• /
• pp.337-347
• /
• 2022

This research aims to analyze the gender, sibling, and characteristics of figures who created the imaginary friends among 30 picture books published in Korea. At first, as a result of the research, a total of 35 figures of the 30 books had imaginary friends, of which 24 figures were women and 11 were men, with women more than twice as many as men. Secondly, in many cases, the only child in picture books had the imaginary companion, but in case of the figures who have brothers or sisters, The imaginary companion visited them more frequently to different gender rather than to same gender. Looking at the frequency of appearance of imaginary companion, the eldest, younger brother, and no appearance appeared in order. Third, as a result of examining the personality of figures who created the imaginary companion, their extroversion or introversion has no meaningful correlation each other. These results are meaningful as reference data for understanding children with imaginary friends in reality as picture books reflect the reality of children with imaginary friends and show various situations of infant with imaginary friends in a balanced manner.

• Journal of Information Technology Applications and Management
• /
• v.28 no.3
• /
• pp.77-87
• /
• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.6 no.7
• /
• pp.1089-1094
• /
• 2002

We can travel every imaginary world and do every impossible thing via 3D character. People interest in 3D character animation for modeling like real world due to the increase of 3D game and imaginary Virtual Reality on the internet. In this paper, new framework for present of 3D character of high quality is applied. I represent 3-dimensional Humanoid modeling and animation technology and show the adequacy via simulation for various and natural representation certificate using VRML as a Web3D information type and XML.

• Journal of Fashion Business
• /
• v.23 no.5
• /
• pp.96-110
• /
• 2019

With the continuous development of artificial intelligence using computers in the Fourth Industrial Age, the virtual space created by virtual reality experiences boosted by the power of artificial intelligence, provides a new experience for us. The purpose of this study is to explore the new aesthetics that the fashion industry provides to users in virtual space created by virtual reality technology. This research method is based on theoretical research on virtual reality technology and virtual space and constructs a research model applied to this research. The scope of this study is the application of virtual reality technology to fashion shows, fashion exhibitions, and fashion design apps on the website of professional virtual reality technology and fashion for the last five years from 2014 to 2019, which actively merged virtual reality technology with modern fashion. We will analyze the cases one by one. The results of this study are as follows. First, this study shows that the constructed virtual space of modern fashion using virtual reality technology creates three kinds of physical space, perceptual space, and imaginary space based on the commutative theory of virtual space formed by Swedish scholar J. $Widestr{\ddot{o}}m$. Second, virtual reality technology applied to fashion shows, fashion exhibitions, and fashion design apps is characterized by four aesthetic characteristics of presence, perceptual expansion, interactivity, and immersion in physical space, perception space, and imagination space.

• Journal of Digital Convergence
• /
• v.14 no.12
• /
• pp.495-501
• /
• 2016

The film has always reflected the culture of the era based on reality and imagination. The visual effect in the film has mainly played a role of expressing the reality more realistically or recognizing the virtual as reality. This study examines the meaning and the effect of fantasy realism through Oasis of Lee Chang-dong. Fantastic realism has separated the reality from the imaginary space by using a dual meaning tool that affects the time and space in the film and reflects the human desire and desire to see. It was also reproduced in the real world through the medium of pigeons. In addition, it separates visualized space from non-visualized space in film narrative structure, separation of real and unreal space, segregation of consciousness and unconscious space, and separation of reality and reality space into power structure. With the development of technology, the image of the yellow image comes closer to us like reality, which will express the space of unconsciousness that we could not think of.

• Proceedings of the KIEE Conference
• /
• 1999.07b
• /
• pp.880-882
• /
• 1999

Virtual Reality is a set of computer technologies which, when combined, provide an interface to a computer-generated world, and in particular, provide such a convincing interface that the user believes he is actually in a three dimensional computer-generated world. This computer generated world may be a model of a real-world object, such as a house; it might be an world that does not exist in a real sense but is understood by humans, such as a chemical molecule or a representation of a set of data; or it might be in a completely imaginary science fiction world. this paper describes the application of boiler digital control system MMI for power plant using virtual reality

• The Journal of the Korea Contents Association
• /
• v.7 no.2
• /
• pp.237-245
• /
• 2007

When reviewing animation based on a mythical motive, the mythical imaginary power has been dependent only on audio visual senses thereby resorting to a fantasy nature regardless of reality, or there has been too much emphasis on an educational message and animation has been utilized as a conflicting composition between good and evil. Therefore, this thesis reviewed 1) whether the author's consciousness was reflected in animation according to the contemporary interpretation of mythical imaginary power and 2) whether the author included an internal meaning of a universal subject by having a short animation that was produced by actively utilizing a mythical motive as a text. Also, based on the analysis, the study deduced the conclusion that the most important thing in animation based on a mythical motive is the author's consciousness that reinterprets the theme of 'universality' from a contemporary perspective before expressing the mythical objects through the senses such as by a brilliant image and sound. The products of such an analysis are supposed to solve the problem over how mythical factors need to be applied and utilized in creating animation.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.6
• /
• pp.551-556
• /
• 2023

In this study, John Burningham's picturebooks(『Come Away from The Water, Shirley』, 『Time to Get Out of The Bath, Shirley』) was analyzed using the concept of carnival among Bakhtin's conversationalism theory. In John Burningham's picturebooks, the unconscious desire for the deviation of the main character, Shirley, is transformed into an adventure in an extraordinary imaginary world, and is depicted as a festival with laughter. Through picturebooks, children are satisfied by indirectly experiencing the forbidden behavior in reality by converting it into an event in the imaginary world. This indirect experience is very important for children to naturally resolve their dissatisfaction in reality and to develop their own original inner development. This study also suggests that providing an environment where children can easily access various picturebooks at home or early childhood education institutions plays a very important role in their growth.

• Proceedings of the KIPE Conference
• /
• 2003.07a
• /
• pp.410-414
• /
• 2003

In this paper, the virtual-reality system is tried to developed, which controls not only the sense of sight and hearing but also the sense of touch, In order to develope the sense of touch in this study, the stable tactual transaction-system, based on summing up the basic algorithm and theory, is embodied. The hardware of this system consists of the 6DOF haptic interface, a controller and a driver In the case of the software, the proxy algorithm is applied for the force-transaction and the mopping algorithm is used for graphic transaction. In addition to this, the imaginary-device driver is utilized for controlling the system and manager-class is also included in this system to manage the position-change and the like. Consequently, the proxy algorithm Is applied, which makes the system possible to be more stable and prompt with and imaginary object. Moreover, the impulse-algorithm is applied to work out a problem which the tactual transaction-period is different from the graphic transaction-period.

• Korean Institute of Interior Design Journal
• /
• v.17 no.6
• /
• pp.11-20
• /
• 2008

The purpose of this study is to find out the theoretical background of spatial fantage effects in Piranesi etching "Le Carceri" called 'Architectural Capriccio'. In a life time Piranesi created a prodigious oeuvre of dramatic and fantastic images about magnificent buildings and mysterious ruins and prison. The increasing "tourism" after the middle of the 18th century contributed a lot to Piranesi's success. He was famous for his poetic views of Rome and also his fantastic imaginary interiors. The terms "Capriccio" and "Veduta" are strongly connected with Piranesi's work. The term Veduta describes a form of landscape depiction in print with close to reality imitation of the scenery, whereas the "Capriccio" contains the elements of invention in artificial architectural landscape. Trained in Venice as an engineer and architect, his studies had included perspective and stage design. These skills, allied to his deep knowledge of archaeology, provided the substance for his Veduta, etchings of ancient Rome. But his most remarkable etchings are those of imaginary interiors, the Carceri d'Invenzione(Imaginary Prisons), a series of capric plates issued in 1750. It appears to Piranesi etching 'Le Carceri' that 18th century experimental scenography's effect very strongly. Also, it can understand about "Scena per Angolo" which was revealed by Ferdinando Galli Bibiena that Piranesi spatial view and viewpoint deconstruction operate motive and cause. Piranesi's spatial fortification was influence by Filippo Juvarra's spatial concept. As a result of this research will be foundation of understanding deeply that Piranesi etching has been affect to present architecture and art.