• Korean journal of communication and information
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• v.73
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• pp.56-91
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• 2015

This study examined changes in the independent production environment in the perspectives from flexible specialization of labor and media routines since January 2011, when comprehensive programming television channels (JTBC, MBN, Channel A, TV Chosun) emerged in Korea. In-depth interviews were conducted with thirteen individuals, including producers from independent production companies, broadcast writers, and individuals involved with these TV channels. The interview results indicated that a flexible specialization production system had been established by the comprehensive programming channels. This means that they were heavily dependent on independent producers, except in relations to their own news programs. Moreover, it was identified that the production of diverse programs could be difficult due to absurd contract practices such as those related to TV ratings and performance systems. Second, these channels have implemented some positive changes such as the payment of higher production costs and an incentive system, compared to terrestrial TV stations. However, the incentive system also helps to aggravate internal competition in the channel and also instigate contract competitions among independent companies, which can eventually result in the channels for holding exclusive rights to certain content and, hence, unfair business practices. Third, as a result of the newspaper and broadcast cross-owenership system of the comprehensive programming channels, hierarchical independent production practices can be established under the influence of newspaper proprietors and executives or managers who have previously worked for newspapers. Lastly, as a result of interviews with independent producers and individuals involved with the TV channels concerning the awareness of comprehensive programming channels, it could not be ascertained whether it is difficult to produce programs dealing with diverse items and genres, because programming autonomy has been distorted by capital or the advertisement market. In this circumstance, it is not surprising that some comprehensive programming channels mentioned that they prioritize profit and performance in programming. In conclusion, it is absolutely imperative that complementary and legal measures be implemented institutionally in order to redress the existing systematic dysfunctional routines in the independent productions of the comprehensive programming TV channels in Korea.

• Journal of the Korean Institute of Telematics and Electronics S
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• v.34S no.12
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• pp.50-59
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• 1997

A wireless LAN medical information transmission system is useful for patients who need mobility in a local area environment. This paper proposes a method using WLAN(wireless local area network) and implements a stand-alone system with MAC(meidum access control) layer protocol referenced IEEE 802.11 draft standard. The system consists of a 8bit-microprocessor which handles media access control protocol and a WL100(GEC Plessey) chip which takes care of phsical layer specific routines and uses a RF module DE6003(GEC Plessey). The major features of the implemented system are the CSMA/CA protocol used a consecutive DATA-ACK trasmission method which yields more effective bandwidth allocation for asyncronous traffic transmission and the modified PCF protocol for time-bounded traffic transmission, which operates in ad-hoc network topology apart from IEEE 802.11 draft standard confirm PCF mode operate in infrastruture topology.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.8
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• pp.335-343
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• 2016

Many users actively create and share digital contents in a variety of social media platforms. Social media users have become accustomed to posting or uploading their daily routines, and generating their contents by imitating others' contents or by creating their own unique contents on the basis of their creativity. Thus, this paper explores the relationship between individual creativity, imitation and creative behavior in using social media. In addition, the study demonstrates the moderating effect of individual characteristics such as age and educational level on the relationship between creativity and imitation. We conducted a three-month survey of 564 individuals using social media services and the results were used for hypotheses testing. The study results are summarized as follows. Firstly, creativity has a significant and positive impact on imitation, but not a direct impact on creative behavior. Secondly, the moderating effect of individual characteristics between creativity and imitation is not statistically significant. Based on these findings, this study presents practical and academic implications of the research.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.1
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• pp.162-169
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• 2022

Arduino is used in various places such as education, experimentation, and industry. Due to the easy accessibility of Arduino, it is often used by non-majors, and it is also used in media art and toy programs. Although Arduino is relatively easy to use compared to other devices, it is not easy to control various IoT components at the same time. Some tasks run independently of other tasks, while others run dependently. In this paper, I proposed the Arduino Task Framework to efficiently execute many tasks in these various situations. The design framework of this paper is largely composed of two types: synchronous execution and asynchronous execution. These two execution methods can be combined to create several independent and dependent execution routines. Asynchronous tasks are independently executed tasks and are managed by AsyncTaskGroup, while synchronous tasks are dependently executed tasks and are managed by SyncTaskGroup. AsyncTaskGroup instance and SyncTaskGroup instance are instances of the same Task and can be used in combination with another task. The Arduino framework proposed in this paper simplifies the program structure and can easily compose various tasks.

• Journal of the Korea Convergence Society
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• v.9 no.12
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• pp.159-167
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• 2018

As the popularity of single-person media content increases, We investigated the causal relationship between perceived value and intention to recommend to others. Individuality was studied on the tendency to sensation seeking and novelty seeking, which is a tendency to take boredom sensitive to monotonous and repetitive daily routines, and novelty seeking refers to new information and stimuli. The hypothesis was that high sensation seeking and high novelty seeking would perceived emotional value, epistemic value, and economic value for a single person 's media content. Hypothesis testing was performed using multiple regression analysis using SPSS21. As a result of the hypothesis test, The novelty seeking has a positive effect on emotional value, epistemic value, and economic value. Users who want to explore and enjoy new things could perceived the emotional value of having fun, fun, and sadness through single-person content, perceived a epistemic value and enjoy new information and situations as a tool to recognize new stimuli and know what they didn't know. And it could be seen that users perceive the economic value that they can enjoy at low cost or free service. The sensation seeking has a significant effect on epistemic value, but it did not affect emotional value and economic value significantly. Those who have a high tendency to sensation seeking can perceive curiosity about one-person media contents, so that they can perceive epistemic value. However, those who feel that they have not significant influence on economic value and emotional value can easily understand that expecting one's content does not feel bored by paying for a low cost or free service.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• Archives of design research
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• v.16 no.4
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• pp.433-442
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• 2003

The concept of pun was basically used to get rhetorical effect in verbal usage and it can be easily applicable to visual communication design. By substituting symbolic images for words of verbal expression, we can draw out some effective communication methods in forms of pun. For years, visual puns have been useful concept to convey a visual message from ancient hieroglyphics to modern arts and design. There are essentially three categories of visual puns. Literal pun upholds the primary meanings of the message literally by picking up a key symbol to create two or more meanings, meanwhile suggestive pun is created when one symbol is used as a key symbol or two or more symbols are combined to created one key symbol that can suggest and strengthen meanings. Comparative pun can be defined two or more symbols of nearly the same appearance are combined or juxtaposed two or more times to enhance overall statement. The concept of visual pun used for traditional area can also be effective ways of new media communication. Thus it is natural to see the concept of visual puns in website. How to handle the images in website is the most critical point for differentiation. But recently, web site designers just seem to focus on somewhat functional aspect. There are certain types of web design formats, and many designers are tend to follow these routines unconsciously. In this situation, the new aspect of visual puns for web design can be a possible design method to fortify the overall message. Through this concept, we can build up some clear identity compared to other web sites and can get alternatives to perform more effective communication ways as a problem-solving process.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.