• Science of Emotion and Sensibility
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• v.15 no.3
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• pp.389-398
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• 2012

Virtual worlds have pursued reality as if they actually exist. In order to evaluate the sense of reality in the computer-simulated worlds, several subjective questionnaires, which include specific independent variables, have been proposed in the literature. However, the questionnaires lack reliability and validity necessary for defining and measuring the virtual realization. Few studies have been conducted to investigate the effect of visual factors on the sense of reality experienced by exposing to a virtual environment. Therefore, this study was aimed at reinvestigating the variables and proposing a more reliable and advisable questionnaire for evaluating the virtual realization, focusing on visual factors. Twenty-one questions were gleaned from the literature and subjective interviews with focused groups. Exploratory factor analysis with oblique rotation was performed on the data obtained from 200 participants(females: 100) after exposing to a virtual character image described in an extreme way. After removing poorly loading items, remained subsets were subjected to confirmatory factor analysis on the data obtained from the same participants. As a result, 3 significant factors were determined to efficiently measure the virtual realization. The determined factors included visual presence(3 subset items), visual immersion(7 subset items), and visual interactivity(4 subset items). The proposed factors were verified by conducting a subjective evaluation in which participants were asked to evaluate a 3D virtual eyeball model based on the visual presence. The results implicated that the measurement method was suitable for evaluating the degree of the virtual realization. The proposed method is expected to reasonably measure the degree of the virtual realization.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.

• Journal of Korean Society of Environmental Engineers
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• v.32 no.4
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• pp.341-348
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• 2010

The basic principle of fry drying process of sludge lies in the rapid pressure change of sludge material caused by the change of temperature between oil and moisture due to the difference of specific heat. Therefore, the rapid increase of pressure in drying sludge induces the efficient moisture escape through sludge pores toward heating oil media. The object of this study is to carry out a systematic investigation of the influence of various parameters associated with the sludge fry drying processes on the drying efficiency. To this end, a series of parametric experimental investigation has been made together with the numerical calculation in order to obtain typical drying curves as function of important parameters such as drying temperature, sludge diameter, oil type and sludge type. In the aspect of frying temperature, especially it is found that the operation higher than $140^{\circ}C$ was favorable in drying efficiency regardless of type of waste oil employed in this study. The same result was also noted consistently in the investigation of numerical calculation, that is, in that the sludge particle drying was efficiently made over $140^{\circ}C$ irrespective of the change of particle diameter. As expected, in general, the decrease of diameter in sludge was found efficient both experiment and numerical calculation in drying due to the increased surface area per unit volume. In the investigation of oil type and property, the effect of the viscosity of waste oil was found to be more influential in drying performance. In particular, when the oil with high viscosity, a visible time delay was noticed in moisture evaporation especially in the early stage of drying. However, the effect of high viscosity decreased significantly over the temperature of $140^{\circ}C$. There was no visible difference observed in the study of sludge type but the sewage sludge with a slightly better efficiency. The numerical study is considered to be a quite useful tool to assist in experiment with more detailed empirical modeling as further work.

• Journal of Korean Society of Environmental Engineers
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• v.31 no.7
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• pp.473-482
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• 2009

In this study, iron and manganese coated sand (IMCS) was prepared by mixing Joomoonjin sand with solutions having different molar ratio of manganese ($Mn^{2+}$) and iron ($Fe^{3+}$). Mineral type of IMCS was analyzed by X-ray diffraction spectroscopy. Removal efficiency of arsenic through As(III) oxidation and As(V) adsorption by IMCS having different ratio of Mn/Fe was evaluated. The coated amount of total Mn and Fe on all IMCS samples was less than that on sand coated with iron-oxide alone (ICS) or manganese-oxide alone (MCS). The mineral type of the manganese oxide on MCS and iron oxides on ICS were identified as ${\gamma}-MnO_2$ and mixture of goethite and magnetite, respectively. The same mineral type was appeared on IMCS. Removed amount As(V) by IMCS was greatly affected by the content of Fe rather than by the content of Mn. Adsorption of As(V) by IMCS was little affected by the presence of monovalent and divalent electrolytes. However a greatly reduced As(V) adsorption as observed in the presence of trivalent electrolyte such as $PO_4\;^{3-}$. As(III) oxidation efficiency by MCS in the presence of NaCl or $NaNO_3$ was two times greater than that in the presence of $PO_4\;^{3-}$. Meanwhile a greater As(III) oxidation efficiency was observed by IMCS in the presence of $PO_4\;^{3-}$. This was explained by the competitive adsorption between phosphate and arsenate on the surface of IMCS.

• Archives of design research
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• v.18 no.3 s.61
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• pp.129-138
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• 2005

It has been assumed that the clarification of a message is a necessary element for successful communication. However, in the today's complicated and changing environment of business marketing media, it is shown that the clarification of the message of advertisement may inhibit the effectiveness of communication. This study was to examine what was effective communication in advertisement when the company, provoking the people's negative emotional response, needs to establish new identities such as the goals and the special fields of business. In particular, the study was to investigate what effect the advertising strategy of strategically emitting ambiguous messages makes on the consumer's recognition, emotional attitude, reliability, and attitude towards the company. It was hypothesized that an ambiguous message in an advertisement has an effect on the consumer's recognition, emotional attitude, reliability, and attitude towards the company. Three texts from the 'Imagination Praises' campaign of KT&G which has been in process since 2003 were systematically sampled and the survey was performed by the means of questionnaires made on the sample The results showed that the ambiguous message of advertising texts gained better responses on the consumer's attention, good impression, affirmation, memory, sympathy than the dear message and that the ambiguous message had an effect on the consumer's attitude towards the advertisement itself. Thus, it could be tentatively concluded that the ambiguous message could be more effective in recognition and recall to promote the changes of identities of the company having the people's unfavorable emotion. But there wasn't any evidence that an ambiguous message in an advertisement was more effective in terms of the consumer's emotional response, reliability, and attitude towards the company. From this, it could be inferred that the receiver had an uncomfortable, doubtful and negative attitude about the implicit expressive code contained in the message. In the future deeper qualitative studies can compensate for the limited explanation of this empirical study focused on statistical analyses.

• Archives of design research
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• v.19 no.2 s.64
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• pp.31-42
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• 2006

This study originates from the following critical mind; what will the office of the future be like? and what technology will we rely upon most to communicate with colleagues or to access business information. In the office environment today, new technology has compelled new work paradigm and has greatly affected the capabilities of the individual to work in a more productive and efficient manner. However, even though new computer technology has changed the business world so rapidly, it is very difficult to see the changes that have been taken place. As an aim of the study, creating a mobile tool for office workers that successfully supports their work and communication was explored, and this study explored future work environment with a 5 years technological and social perspective. As a result of this study, the bON brings new visions to the mobile professionals via various interfaces. The bON, a mobile device, is both a system of work and of communication for office workers. The bON, as an integrated tool for working and communicating, forms the basis for a mobile information gateway that is equally capable of functioning as a mobile desk. The basic underlying idea is that all formal meeting places and hallways in the office are equipped with large wall-mounted screens. The bON collaborates with these media in various ways to enhance productivity and efficiency. The main challenge for the bON to enhance both mobility and quality of information is using new technology including bendable and flexible display and soft material display and sensors. To answer for the strong needs for mobility, the whole size of the device is fairly small while the screen is rolled inside the device. For Graphical User Interface, moreover, a new technique called Multi-layering Interface was adopted to stretch user's visual limits and suggests new direction in designing mobile device, equipped with small size display.

• Journal of Broadcast Engineering
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• v.8 no.4
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• pp.325-338
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• 2003

Video adaptation in response to dynamic resource conditions and user preferences is required as a key technology to enable universal multimedia access (UMA) through heterogeneous networks by a multitude of devices In a seamless way. Although many adaptation techniques exist, selections of appropriate adaptations among multiple choices that would satisfy given constraints are often ad hoc. To provide a systematic solution, we present a general conceptual framework to model video entity, adaptation, resource, utility, and relations among them. It allows for formulation of various adaptation problems as resource-constrained utility maximization. We apply the framework to a practical case of dynamic bit rate adaptation of MPEG-4 video streams by employing combination of frame dropping and DCT coefficient dropping. Furthermore, we present a descriptor, which has been accepted as a part of MPEG-21 Digital Item Adaptation (DIA), for supporting terminal and network quality of service (QoS) in an interoperable manner. Experiments are presented to demonstrate the feasibility of the presented framework using the descriptor.

• Journal of Broadcast Engineering
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• v.13 no.2
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• pp.200-213
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• 2008

H.264| MPEG-4 AVC is a new video codingstandard defined by JVT (Joint Video Team) which consists of ITU-T and ISO/IEC. Many techniques are adopted fur the compression efficiency: Especially, an intra prediction in an inter frame is one example but it leads to excessive amount of encoding time due to the decision of a candidate mode and a RDcost calculation. For this reason, a fast determination of the best intra prediction mode is the main issue for saving the encoding time. In this paper, by using the result of statistical relation between intra $16{\times}16$ and $4{\times}4$ intra predictions, the number of candidate modes for $4{\times}4$ intra prediction is reduced. Firstly, utilizing motion vector obtained after inter prediction, prediction of a block mode for each macroblock is made. If an intra prediction is needed, the correlation table between $16{\times}16$ and $4{\times}4$ intra predicted modes is created using the probability during each I frame-coding process. Secondly, using this result, the candidate modes for a $4{\times}4$ intra prediction that reaches a predefined specific probability value are only considered in the same GOP For the experiments, JM11.0, the reference software of H.264|MPEG-4 AVC is used and the experimental results show that the encoding time could be reduced by 51.24% in maximum with negligible amounts of PSNR drop and bitrate increase.