• Economic and Environmental Geology
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• v.45 no.6
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• pp.685-695
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• 2012

We studied the detailed bathymetry and the geophysical characteristics of the summit of the Dokdo volcano using mutibeam echosounding and geophysical survey data. The bathymetry around the main east and west islets of the Dokdo volcano shows very shallow within about 10 m water depth. From near islets to about 30 m b.s.l., the shallow water area has very steep slope and many irregular sunken rocks. The area from about 30 m to about 80 m b.s.l. shows gentle rises and falls, and less steep slope. The area from 80 m b.s.l. has gradually flat undulation and smooth slope seabaed and is extended to offshore. The main islets of the Dokdo volcano and the rocky sea bottom elongated from the islets might be the residual part of the eroded and collapsed main crater of the Dokdo volcano. The bathymetry and the seafloor image(from backscattering) data show small craters, assumed to be formed by the eruption of later volcanism. The seafloor images propose that, except some areas with shallow sand sedimentary deposits, there are typical rocky bottom such as rocky protrusions and lack of sediments in the main morphology of the survey area. The stepped slopes of the seabed are deduced to be submarine terraces. The several prominent submarine terraces are found at the summit of the Dokdo volcano, suggesting repetition of sea level changes(transgressions and regressions) in the Quaternary. The results of the magnetic anomaly and the analytic signal have a good coherence with other geophysical consequences regarding to the location of the residual crater.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• The Journal of Engineering Geology
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• v.15 no.2 s.42
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• pp.213-227
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• 2005

This study aims to assess the problems with investigation method and to suggest the complementary solutions by comparing the predicted data from surface investigation with the outcome data from underground cavern. In the study area, one(NE-1) of 6 fracture zones predicted during the surface investigation was only confirmed in underground caverns. Therefore, it is necessary to improve the confidence level for prediction. In this study, the fracture classification criteria was quantitatively suggested on the basis of the BHTV images of NE-1 fracture zone. The major orientation of background fractures in rock mass was changed at the depth of the storage cavern, the length and intensity were decreased. These characteristics result in the deviation of predieted predicted fracture properties and generate the investigation bias depending on the bore hole directions and investigated scales. The evaluation of hydraulic connectivity in the surface investigation stage needs to be analyze by the groundwater pressures and hydrochemical properties from the monitoring bore hole(s) equipped with a double completion or multi-packer system during the test bore hole is pumping or injecting. The hydraulic conductivities in geometric mean measured in the underground caverns are 2-3 times lower than those from the surface and furthermore the horizontal hydraulic conductivity in geometric mean is six times lower than the vertical one. To improve confidence level of the hydraulic conductivity, the orientation of test hole should be considered during the analysis of the hydraulic conductivity and the methodology of hydro-testing and interpretation should be based on the characteristics of rock mass and investigation purposes.

• Journal of Biomedical Engineering Research
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• v.25 no.4
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• pp.253-259
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• 2004

in this study, we developed a Monte Carlo imaging simulation code written by the visual C$\^$++/ programing language for design optimization of a digital X-ray imaging system. As a digital X-ray imaging system, we considered a Gd$_2$O$_2$S(Tb) scintillator and a photosensor array, and included a 2D parallel grid to simulate general test renditions. The interactions between X-ray beams and the system structure, the behavior of lights generated in the scintillator, and their collection in the photosensor array were simulated by using the Monte Carlo method. The scintillator thickness and the photosensor array pitch were assumed to 66$\mu\textrm{m}$ and 48$\mu\textrm{m}$, respertively, and the pixel format was set to 256 x 256. Using the code, we obtained X-ray images under various simulation conditions, and evaluated their image qualities through the calculations of SNR (signal-to-noise ratio), MTF (modulation transfer function), NPS (noise power spectrum), DQE (detective quantum efficiency). The image simulation code developed in this study can be applied effectively for a variety of digital X-ray imaging systems for their design optimization on various design parameters.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Cartoon and Animation Studies
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• s.51
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• pp.361-390
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• 2018

Users of KakaoTalk emoticons use Kakao Talk emoticons as means of communicating their emotions in virtual space. Emotional state is represented by design element (auxiliary, color, form, motion) and storytelling element contained in emoticons. The purpose of this study is to investigate the factors of the storytelling and design elements of kakaoTalk emoticons and how they prefer the kakaoTalk emoticons as emotional expression means. In terms of storytelling, crocodiles, peaches, dogs, ducks, lions, moles, and rabbits were made up of ordinary fruits and animals. Most of the emoticons are composed of stories with unique personality, and each story has a complex one by one, which makes it easy for users to approach and use them. In terms of design, I used various auxiliary elements (flame, sweat, tears, runny nose, angry eyes, etc.) to express angry, sincere, nervous, begging, joy, and sadness. The color elements consisted of most of the warm color series with the unique colors (green, red, yellow, pink, white, black, brown, etc.) of emoticon characters regardless of feelings of joy, anger, sadness, pleasure. The form factor is composed of a round shape when expressing factors such as joy and sadness. On the other hand, when FRODO and NEO express sadness and anger, they represent the shape of a rectangle. The motion elements are horizontal, vertical, and oblique expressions of APPEACH, NEO, TUBE, and JAY-G, expressing emotional expressions of sadness, anger, and pleasure. APEACH, TUBE, MUZI & / Shows the dynamic impression of the oblique and the radiation / back / forward / rotation. The anger of TUBE and FRODO shows horizontal / vertical / diagonal and radial motion. As a result of this study, storytelling is structured in accordance with each emoticon character. In terms of design, auxiliary elements such as flame, sweat, and tears are represented by images. The color elements used the unique colors of the character series regardless of the difference of emotion. The form factor represented various movements for each emotion expression. These findings will contribute to the development of communication, emotional design and industrial aspects. Despite the significance of the above paper, I would like to point out that the analysis framework of the storytelling and the semiotic analysis of the supplementary elements are not considered as limitations of the study.

• Analytical Science and Technology
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• v.29 no.3
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• pp.142-153
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• 2016

In crime scene investigation, fingerprint identification is regarded to be one of the most important techniques for personal identification. However, objective and unbiased evaluation methods that would compare the fingerprints with diverse available and developing methods are currently lacking. To develop an objective and quantitative method to improve fingerprint evaluation, a preliminary study was performed to extract useful research information from the analysis with densitometric image analysis (CP Atlas 2.0) and the Automated Fingerprint Identification System (AFIS) for the developed fingerprints on porous surfaces. First, inked fingerprints obtained by varying pressure (kg.f) and pressing time (sec.) to find optimal conditions for obtaining fingerprint samples were analyzed, because they could provide fingerprints of a relatively uniform quality. The extracted number of minutiae from the analysis with AFIS was compared with the calculated areas of friction ridge peaks from the image analysis. Inked fingerprints with a pressing pressure of 1.0 kg.f for 5 seconds provided the most visually clear fingerprints, the highest number of minutiae points, and the largest average area of the peaks of the friction ridge. In addition, the images of the developed latent fingerprints on thermal paper with the iodine fuming method were analyzed. Fingerprinting condition of 1.0 kg.f/5 sec was also found to be optimal when generating highest minutiae number and the largest average area of peaks of ridges. Additionally, when the concentration of ninhydrin solution (0.5 % vs. 5 %) was used to compare the developed latent fingerprints on print paper, the best fingerprinting condition was 2.0 kg.f/5 sec and 5 % of ninhydrin concentration. It was confirmed that the larger the average area of the peaks generated by the image analysis, the higher the number of minutiae points was found. With additional tests for fingerprint evaluation using the densitometric image analysis, this method can prove to be a new quantitative and objective assessment method for fingerprint development.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Journal of radiological science and technology
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• v.32 no.1
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• pp.101-106
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• 2009

Purpose of this study is to compare the signal intensity (SI) and CNR with T1 weighted image using FLASH at 3T abdominal MRI by varying flip angle (FA). Totally 20 patients (male : 12, female : 8, Age : $28{\sim}63$ years with mean : 51) were examined by 3 Tesla MR scanner (Magnetom Tim Trio, SIEMENS, Germany) with 8 channel body array coil between september and October 2008. Imaging parameters were as follows : FLASH sequence, TR : 120 ms, TE : minimum, FOV (field of view) : $360{\times}300\;mm$, Matrix : $256{\times}224$, slice : 6 mm, scan time : 15 sec and Breath-hold technique. Abdominal image, with a 50 ml syringe filled with water placed in the FOV measuring the water signal, were acquired with varying FA through $10^{\circ}$ to $90^{\circ}$ with $10^{\circ}$ interval. SI's were measured three times at liver parenchyme, water, spleen and background and averaged. The CNR's were measured between the ROIs (region of interest). Statistic analysis was performed with ANOVA test using SPSS software (version 17.0). Less than FA $30^{\circ}$, abdominal images were severely inhomogeneity. Especially, T1 effect of water signal was weak. As the flip angle increased, the signal intensity decreased at all the regions. Especially, flip angle of the highest signal intensity was observed with $40^{\circ}$ at the liver parenchyme, $20^{\circ}$ at water, $30^{\circ}$ at the spleen, respectively. The CNR between liver and water was -60.92 at FA $10^{\circ}$ and 15.16 at FA $80^{\circ}$. The CNR between liver and spleen was -3.18 at FA $10^{\circ}$ and 9.65 at $80^{\circ}$. In conclusion, FA $80^{\circ}$ is optimal for T1 weighted effect using FLASH pulse sequence at 3.0 T abdominal MRI.