• Journal of Digital Contents Society
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• v.13 no.2
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• pp.225-233
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• 2012

The 3D stereoscopic image contents have been emerging as the blue chip of the contents market of the next generation since the . However, all the 3D contents created commercially in the country have failed to enter box office. It is because the quality of Korean 3D contents is much lower than that of overseas contents and also current 3D post production process is based on 2D. Considering all these facts, the 3D editing process has connection with the quality of contents. The current 3D editing processes of the production case of are using the way that edits with the system on basis of 2D, followed by checking with 3D display system and modifying, if there are any problems. In order to improve those conditions, I suggest that the 3D editing process contain more objectivity by visualizing the depth data applied in some composition work such as Disparity map, Depth map, and the current 3D editing process. The proposed process has been used in the music drama , comparing with those of the film . The 3D values could be checked among cuts which have been changed a lot since those of , while the 3D value of drew an equal result in general. Since the current process is based on an artist's subjective sense of 3D, it could be changed according to the condition and state of the artist. Furthermore, it is impossible for us to predict the positive range, so it is apprehended that the cubic effect of space might be perverted by showing each different 3D value according to cuts in the same space or a limited space. On the other hand, the objective 3D editing by applying the visualization of depth data can adjust itself to the cubic effect of the same space and the whole content equally, which will enrich the 3D contents. It will even be able to solve some problems such as distortion of cubic effect and visual fatigue, etc.

• Korean Journal of Environment and Ecology
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• v.31 no.1
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• pp.112-118
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• 2017

The purpose of this study is to clarify the characteristics of the soundscape in a natural park and an urban park. The study sites were a natural park (Chiaksan Nationalpark) and an urban park (Rose Park) in Wonju City, Gangwon Province. Soundscape recording was conducted using Digital Recorder from April 2015 to January 2016. The analysis period was 8 days per season, with a total of 64 days (2 places). Analysis items were soundscape's daily cycle, soundscape type, and seasonal variation. According to the result of the daily cycle analysis of the soundscape, the natural park was dominated by the biophony in accordance with the cycle of the sun, and the airplane sound was observed in the daytime. Meanwhile, anthrophony was consistently produced in the urban park 24 hours a day. As a result of the detailed type analysis of the soundscape, the sources of biophony were classified into wild birds, mammals, insects and amphibians, and the sources of geophony were classified into rain and wind. The anthrophony was mostly airplane sound. In the urban park, wild birds appeared to most influence the biophonic sounds while rain and the wind were the most frequent sounds that contribute to geophony. The most influential components of anthrophony in the urban park were in the order of automobiles, people, music, construction, cleaning, and airplane sound. As a result of the seasonal difference analysis of the soundscape, it was statistically significant that the natural park shows higher biophony in spring, summer, and autumn compared to the urban park. Anthrophony in the urban park appeared to be higher than the natural park in all seasons. The significance of this study is that it is the first study to identify the characteristics of the soundscape of a natural park and an urban park emanating from different landscapes in South Korea.

• Sijohaknonchong
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• v.42
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• pp.7-28
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• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.3
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• pp.42-50
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• 2012

City squares are public open spaces which are closely related to the peoples daily lives. Most squares are located in the center of the city, and they are usually used for community gatherings and they are suitable for open markets, music concerts, political rallies, and other events. City squares also play an important role as a grand public place operating in multi functions that require involvement of more people. The purpose of this study is to examine satisfaction on the spatial components, characteristics, and the user satisfaction in City Squares. The slady also analyzed the relationship between the satisfaction about spatial components, characteristics and it also shows that the user satisfaction is followed. This study sites are made in 3 grand public places in the center of Seoul including the Seoul plaza, Cheonggye Plaza, and Gwanghwarnun Square. Data were analyzed using several statistical methods such as descriptive statistics, factor analysis, ANOVA, correlation and regression. Results of the study are as follows: First, factor analysis carried out to extract the various factors of satisfaction on the sites; spatial components, usability, amenity/security, and spatial characteristics. User satisfaction concerning usability factor was higher than the satisfaction of the other factors. This result represented that the slady sites play an important role to the public open spaces in the city. Second, users showed high user satisfaction to study sites, and user satisfaction rate toward the Gwanghwarnun Square is the highest because of its facility planuing. Finally, user satisfactim was strongly correlated on the usability factor of spatial planning. Also, the significant correlations between the user satisfaction and the other factors such as spatial components, security, and spatial characteristics of spatial planning are presented. Results of this study can help guide the planning and management of the city square as a public open space based on the understanding of user perception and satisfaction.

• Cartoon and Animation Studies
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• s.36
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• pp.237-257
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• 2014

This study is the process of performing the interdisciplinary fusion study between multiple fields by identifying the status on the previous artistic education considering the brain scientific mechanism of image creativity and brain-based learning principles. In recent years, producing the educational methods of each field as the fusion study activities are emerging as the trend and thanks to such, the results of brain-based educational fusion studies are being presented for each field. It includes artistic fields such as music, art and dance. In other words, the perspective is that by understanding the operating principles of the brain while creativity and learning is taking place, when applying various principles that can develop the corresponding functions as a teaching method, it can effectively increase the artistic performance ability and creativity. Since the animation drawing should be able to intuitively recognize the elements of movement and produce the communication with the target beyond the delineative perspective of simply drawing the objects to look the same, it requires the development of systematic educational method including the methods of communication, elements of higher cognitive senses as well as the cognitive perspective of form implementation. Therefore, this study proposes a literature study results on the artistic education applied with brain-based principles in order to design the educational model considering the professional characteristics of animation drawing. Therefore, the overseas and domestic trends of the cases of brain-based artistic education were extracted and analyzed. In addition, the cases of artistic education studies applied with brain-based principles and study results from cases of drawing related education were analyzed. According to the analyzed results, the brain-based learning related to the drawing has shown a common effect of promoting the creativity and changes of positive emotion related to the observation, concentration and image expression through the training of the right brain. In addition, there was a case of overseas educational application through the brain wave training where the timing ability and artistic expression have shown an enhancement effect through the HRV training, SMR, Beta 1 and neuro feedback training that strengthens the alpha/seta wave and it was proposing that slow brain wave neuro feedback training contributes significantly in overcoming the stress and enhancing the creative artistic performance ability. The meaning of this study result is significant in the fact that it was the case that have shown the successful application of neuro feedback training in the environment of artistic live education beyond the range of laboratory but the use of the machine was shown to have limitations for being applied to the teaching methods so its significance can be found in providing the analytical foundation for applying and designing the brain-based learning principles for future animation drawing teaching methods.

• Journal of Intelligence and Information Systems
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• v.21 no.3
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• pp.19-36
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• 2015

Social media is an emerging issue in content services and in current business environment. YouTube is the most representative social media service in the world. YouTube is different from other conventional content services in its open user participation and contents creation methods. To promote a content in YouTube, it is important to understand the diffusion phenomena of contents and the network structural characteristics. Most previous studies analyzed impact factors of contents diffusion from the view point of general behavioral factors. Currently some researchers use network structure factors. However, these two approaches have been used separately. However this study tries to analyze the general impact factors on the view count and content based network structures all together. In addition, when building a content based network, this study forms the network structure by analyzing user comments on 22,370 contents of YouTube not based on the individual user based network. From this study, we re-proved statistically the causal relations between view count and not only general factors but also network factors. Moreover by analyzing this integrated research model, we found that these factors affect the view count of YouTube according to the following order; Uploader Followers, Video Age, Betweenness Centrality, Comments, Closeness Centrality, Clustering Coefficient and Rating. However Degree Centrality and Eigenvector Centrality affect the view count negatively. From this research some strategic points for the utilizing of contents diffusion are as followings. First, it is needed to manage general factors such as the number of uploader followers or subscribers, the video age, the number of comments, average rating points, and etc. The impact of average rating points is not so much important as we thought before. However, it is needed to increase the number of uploader followers strategically and sustain the contents in the service as long as possible. Second, we need to pay attention to the impacts of betweenness centrality and closeness centrality among other network factors. Users seems to search the related subject or similar contents after watching a content. It is needed to shorten the distance between other popular contents in the service. Namely, this study showed that it is beneficial for increasing view counts by decreasing the number of search attempts and increasing similarity with many other contents. This is consistent with the result of the clustering coefficient impact analysis. Third, it is important to notice the negative impact of degree centrality and eigenvector centrality on the view count. If the number of connections with other contents is too much increased it means there are many similar contents and eventually it might distribute the view counts. Moreover, too high eigenvector centrality means that there are connections with popular contents around the content, and it might lose the view count because of the impact of the popular contents. It would be better to avoid connections with too powerful popular contents. From this study we analyzed the phenomenon and verified diffusion factors of Youtube contents by using an integrated model consisting of general factors and network structure factors. From the viewpoints of social contribution, this study might provide useful information to music or movie industry or other contents vendors for their effective contents services. This research provides basic schemes that can be applied strategically in online contents marketing. One of the limitations of this study is that this study formed a contents based network for the network structure analysis. It might be an indirect method to see the content network structure. We can use more various methods to establish direct content network. Further researches include more detailed researches like an analysis according to the types of contents or domains or characteristics of the contents or users, and etc.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.14 no.2
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• pp.134-145
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• 2001

Introduction: Noises in the ear, whether real or imagined, are called tinnitus. Subjective causes of tinnitus(which is heard only by the patient) are extremely common and the majority of them are treated conservatively. For certain individuals their tinnitus is a major handicap; for others a trivial concern. The most common from of subjective tinnitus is a rushing, hissing or buzzing noise; it is frequently associated with sensorineural heanng loss. The patient may be unaware of the hearing loss, especially if it is a high frequency deficit of moderate severity. The character of the tinnitus may give a clue to the etiology. But the patient often has difficulty in explaining his/her tinnitus in absolute terms, as they have no other tinnitus with which to compare it but their own Tinnitus, like pain, is a subjective state and trying to objectively assess the severity is problematic. Audiological techniques to match subjective loudness to machine-produced noise may offer some help, in that sound intensity matches can bear little correspondence to subjective complaint. In spite of many studies, most patients presently seen complaining of tinnitus are told by their doctors that there is no treatment and that they will have to learn to live with this symptom. Objectives: To perform a clinical analysis of tinnitus and estimate the efficacy of Oriental Medical treatment according to the Byeonjeung(辨證). Subject: We studied 34 patients with complaints of tinnitus who had visited Pundang Cha Oriental Medicine Hospital Department of Otorhinolaryngology from March 1998 to February 2000. All of them had been treated 2 or 3 times a week with acupuncture treatment and had taken herbs according to the Byeonjeung(辨證) method. It was therefore possible for me to know whether their symptoms improved or not. Parameters Observed and Method: We treated them with acupuncture & herb-medication. Sometimes we gave them moxibustion or negative therapy with bloodletting at the acupuncture points(耳門, 聽宮, 聽會). Parameters Observed 1) Distribution of age & sex 2) Chief complaints 3) The sites of tinnitus 4) The quality of tinnitu 5) The duration of disease 6) The problem induced tinnitus 7) Factors increasing disease severity 8) The classification of the Byeonjeung(辨證) 9) The efficacy of treatments Results: 1. Age and sex distribution: The most common occurrence was found in males in their twenties: 6 males($17.7\%$), and in females in their thirties and over sixty: 8 females($23.5\%$). Total patient numbers for men and women were 20 men($58.8\%$), 14 women ($41.2\%$). 2. The most frequent major complaints were hearing disturbances related to tinnitus; and dizziness with tinnitus; each comprising 10 cases($29.4\%$). There were also 7 patients($20.6\%$) with only tinnitus. 3. Tinnitus sites: 13($38.2\%$) said that they felt tinnitus in both ears, equally. In the right ear, 9($26.5\%$), in the left, 6($17.7\%$). 4. The most frequent descriptive symptoms of tinnitus were: humming, hissing, buzzing etc. 5. The duration of disease. 14cases($41.2\%$) had a duration of less than 1 year. 6. 15cases($44.1\%$) complained that it was hard to watch TV or make a phone call because of tinnitus. 10 cases($29.4\%$) complained about depression. 7. Factors increasing severity of tinnitus: ⅰ) fatigue: 18cases($52.9\%$) ⅱ) stress/ tension: 10 cases($29.4\%$) ⅲ) alcohol and tobacco: 5cases($l4.7\%$) 8. Classification through Byeonjeung : ⅰ) 19 cases($55.9\%$) were classified as showing Deficiency syndrome. ⅱ) 15 cases($44.l\%$) were classified as showing Excess syndrome. The deficiency of Qi was 7($20.6\%$), deficiency of Xue, 8($23.5\%$) and insufficiency of the Kidney Yin & Yang, 4($11.8\%$). The flare of Liver fire was 8($23.5\%$) and phlegm-fire, 7($20.6\%$), 9. The efficacy of treatments showed: an improvement in 17cases($50.0\%$); no real improvement or changes in 13 cases($38.2\%$); and some worsening in 4 cases($11.8\%$). In the group with deficiency in Qi, 4($57.1\%$) improved, 1($14.3\%$) showed no change and 2($28.6\%$) were aggravated. In the cases of deficiency in Xue, 6($75.0\%$) improved, 2($25.0\%$) showed no change. In the cases of insufficiency of Kidney Yin & Yang, 3($75.0\%$) showed no change and 1($25.0\%$) were aggravated. In the group of flare of Liver fire, 4($50.0\%$) improved, 3($37.5\%$) no change and 1($12.5\%$) were aggravated. In the cases of phlegm-fire, 3($42.9\%$) improved, 4($57.1\%$) showed no change. Conclusion: We would recommend that any further studies of tinnitus utilize trial treatments of longer than 2 months duration, as any positive effects observed in our study showed that improvement occurred fairly slowly. And we suggest that this study could be utilized as a reference for clinical Oriental Medical treatment of tinnitus. If we try to apply music or sound therapy treatment properly combined with ours, we expect it to provide psycological stability in addition to inducing masking effects, even though it may not directly decrease or completely remove tinnitus.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• (The)Study of the Eastern Classic
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• no.49
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• pp.325-355
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• 2012

This research aims to generalize the thoughts of military science of the intellectuals through the books on military arts and science, which were published in the early Joseon Dynasty. In the early Joseon dynasty, it was in a position to establish the foundation in the new monarch internally, and, at the same time, to overcome foreign powers on both northern and southern borders externally. Thus, the books on military arts and science should have to be published under a premise of such situations. Accordingly, the books on military arts and science of those days took account of political stability having reflected the activities not only as the founder of Joseon but also as the military officer in the late Goryeo along with the books' own purpose to found military arts and sciences. The books on military arts and science that published in the early Joseon Dynasty were written mostly based on Chinese military books and its annotations, except some descriptions of the history of war. However, the intellectuals at that time endeavored to redefine military arts and science from the perspective of Confucianism having evaluated Chinese military science books that were biased to boost Machiavellian tactics. As a result of this, the geographical distinctions between China and Korea were the start of an argument for the military arts and science. There were also disputes over the relationships between the military science and the Yin-Yang School, and between the military science and Confucian school. Organizing our country's own history of war for the first time in the early Joseon Dynasty is worth for putting a high evaluation. However, it cannot help but to point out the limits of the books that there are noticeable descriptions about the factors related to toadyism, and that there are no descriptions about the wars against Japanese raiders. The books on military arts and science in the early Joseon Dynasty put emphasis on the commander's leadership that should be good at both literary and martial arts, as well as the harmony in military-to-military relations. After all, the intellectuals in the early Joseon Dynasty had linked the military arts and science to the sages of Confucian school under a premise that scholarship is to be used in combination with martial arts. And, as the nexus between the two, they noted the items of virtue, such as humaneness and righteousness (仁義); ritual and music (禮樂); loyalty and filial piety (忠孝); three fundamental principles (三綱); five moral disciplines (五倫). It can be said that this point is the typical features of the military arts and science in the early Joseon Dynasty, which cannot be found in Chinese military classics.