• Journal of Industrial Technology
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• v.5
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• pp.81-89
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• 1985

A Mise-$\grave{a}$-la-masse method is to use a subsurface conductive mass itself as one current electrode of a pair by connecting it directly to one pole of a voltage source, the second current electrode being placed on the ground surface at a great distance and connected to the other pole. This paper is to study the modified Mise-$\grave{a}$-la-masse method using a water tank, that is, the second current electrode is placed on the underground level instead of being placed at a great distance, to find the geometry and the continuity of ore bodies.

• Journal of the Korean Data and Information Science Society
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• v.6 no.1
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• pp.85-96
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• 1995

The purpose of this paper is to propose the kernel density estimator and the jackknife kernel density estimator in the presence of k's unidentified outliers, and to compare the small sample performances of the proposed estimators in a sense of mean integrated square error(MISE).

• Korean Architects
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• s.570
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• pp.60-73
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• 2016

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• Korean Architects
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• s.628
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• pp.100-103
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• 2021

• Proceedings of the Korean Society of Food Hygiene and Safety Conference
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• 1996.06a
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• pp.3-7
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• 1996

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.75-86
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• 2018

Desktop Documentary is a new documentary mode which uses a screen capture technology to complete the multitasking process of the creator who searches in the Internet Open Archive instead of shooting with a camera and remixes the selected multimedia contents using a computer interface. In this paper, we explore the desktop documentary that transforms potential archives into database narratives in the new media environment, converts cinematic mise-en-$sc{\grave{e}}ne$ into computational mise-en-interface, and transcends the boundaries between creation and criticism through creative mechanism as curation through stream of consciousness. We also examine the concept, type and characteristics of the desktop documentary which emerges since 2010s as an experimental attempt of new media art, a new hybrid genre of mainstream horror film, a new mode of fiction film, a new mockumentary style, and a new form of video essay and audiovisual critique.

• Journal of Radiation Protection and Research
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• v.2 no.1
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• pp.24-30
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• 1977

Les eaux de $g\'{e}n\'{e}rateur$ de vapeur d'un $r\'{e}acteur$ P. W. R peuvent $\^{e}tre$ $contamin\'{e}es$ par des $radio-\'{e}lements$. Ces eaux sont habituellement $condition\'{e}es$ 'phosphate' pour limiter leur $agressivit\'{e}$ et la tendence actuelle est de remplacer les phosphate par un conditionment 'Amoniaques'. La $pr\'{e}sente$ $\'{e}tude$ a pour but de definir la $possibilit\'{e}$ $d'{\'{e}}purer$ des eaux $condition\'{e}es$ $\'{a}$ l'ammoniaque $\'{a}$ l'aide $d'{\'{e}}changeurs$ d'ion organiques. Des Facteurs de $D\'{e}contamination$ (F. D) en Cesium 137 et Strontium 90 et la $dur\'{e}e$ du cycle $d'{\'{e}}puration$ ont $d\^{u}$ $\^{e}tre$ bien meilleurs avec une colonne de 10 ml de $r\'{e}sine$ Carborylique Duolite $CC_4$ mise sous forme acide, suivie d'une colonne de 10 ml de $r\'{e}sine$ cationique Amberlite IR 120 mise sous forme acide et suivie d'une colonne de 10 ml de $r\'{e}sine$ anionique Amberlite IRA 400 mise sous forme hydroxyde.

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.111-121
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• 2005

The appearance of digital culture swiftly has changed the culture in domestic and international arenas before and after the year 2004 and the image and animation have become two of the most important expression media in contemporary age. Among the Japanese animations that have demonstrated the rapid development of cartoon and animation in the world, the director Dakahata Isao's 'Graves of the Fireflies' that has influenced many works has been evaluated as one of the noticeable works that has a unique method and scenario dramatization in terms of producing the original novel into an animation. This study investigates the metaphor and symbolism shown in this work according to each sequence, divides the production ability in the work into three elements and applies them to the important elements such as camera, colors and mise-en-scene when the original work is depicted into image. It can be summarized in more detail as in the following: firstly, I study the rhythm of camera corresponding to the symbolism of the angle that the camera has and production; secondly, I analyze the artistic elements appeared in the process of expressing the original work into the image, especially the production for the colors and symbolism contained in them and the composition of screen. Thirdly, I analyze how effectively the atmosphere for the situations for the original work is expressed in animation with the aid of one of the image elements, mis-en-scene. It is expected that the analyzed findings will be effective as a way of overcoming the limitation of expressions that the original work in text and the study on these processes will become good examples to the relevant workers and will be the good references to the producers who are interested in the creation of animation in Korea.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.