• Journal of the Korean GEO-environmental Society
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• v.4 no.2
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• pp.93-104
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• 2003

Porous media consist of physically and chemically different materials and have an extremely complicated behavior due to the different material properties of each of its constituents. In addition, the internal structure of porous materials has generally a complex geometry that makes the description of its mechanical behavior quite complex. Thus, classical continuum mechanics cannot explain the behavior of materials with pore spaces, such as concrete, soils and organic materials in waste landfill. For these reasons, porous media theory has been developed in the nineteenth century. Biot had the greatest influence on the development of porous media theory. Biot's work has been referred by many authors in the literature. Development of numerous fundamental equations in porous media theory were made possible due to Biot's work. His contributions made the greatest influence on porous media theory. Therefore, it is highly advantageous to review Biot's publications. This work presents a review of Biot's work. It shows how porous media theory has been developing so far and provides a chance to discuss the contribution of his work to the modern porous media theory.

• Korean journal of communication and information
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• v.57
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• pp.33-48
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• 2012

Over the last decades, the issue of work or labor has played a critical role in prevailing discourses to represent the changed economic reality. Aesthetic labor, cultural work, network labor, team-work and alike, have played a dazzling role to represent the emerging economic order, employing the word of labor. Certainly, it is not less than a part of a wide range of shifts in order to make capital work with more effect by making up a workable and governable subject. In this article, I try to examine shifts around the media work which has contributed to expand the new discourse of 'labor.' I will say that it is quite crucial for accounting for the reality of media work to shed light on moves to represent media work, and, among others, one to transform the subjectivity involved in it among others. Furthermore, it would be necessary to take a close look at the subjectivity of media work and its modification to deal with and eliminate the precariousness of media work. Saying about media work without paying any attention to heterogenous and various practices to compose a media work, one is forced to regard media work as the matter of economic and legal interests. In addition, it would bring about that the cultural political concerns of media work will be detached from critical sight of the media cultural studies. Referring to major studies around media work in critical media studies, cultural studies and political economy of communication, this article will briefly look into the arrangement of contentions around subjectivity of media work in South Korea. And it will try to suggest what cultural-political strategy we need to investigate, fighting against the hegemonic power to generate and regulate media work and its workers in precarious conditions. It does not intend to search the media work and its complicated realities in detail in South Korea. I wish that it would make a preliminary step to propose and elaborate the critical analysis of media work and its form of subjectivities.

• The Journal of Art Theory & Practice
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• no.14
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• Cartoon and Animation Studies
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• s.44
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• pp.235-261
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• 2016

Media consumers in the context of the Internet and digital media are using the same content to a variety of platforms. As such, the content of various genres is converted to the form of a new content through the process of fusion, combination, transformation, differentiation, reproduction, etc on the basis of digital media. That is referred to as trans-media. In order to create the successful content in trans-media era, it requires the work of Edi-curation. Edi-curation work is the act of editing and adding meaning to the curation work of curators. In that sense, this paper analyzed the definition and meaning for Edi-curation of publishing and comic(webtoon) content in trans-media era. Edi-curation process induces the changing role of consumers and producers of content in the digital media experience. In process of Edi-curation, consumers(producers) will soon lead to a media producer(consumer), namely proconsumer / produser. Diversification of digital platforms and devices, digital 1 person (or SNS) appeared in the media, etc. are also required to Edi-curation of content and comic(webtoon) published in a variety of ways. Depending on the intention of media producers (or consumers), content through the process of replication, montage, disassembly, dismantling, hypertext, compression, and reconstruction births to new content. The work of Edi-curation has the significance that it affects the way the media producers work in creative process, as well as the reading content of the media consumers. In the publishing content, Edi-curation work is the logicality destruction of a chapter or a paragraph, a sentence of colloquialisms, card news, the deformation of the utilization of video and media content. Meanwhile in the comic(webtoon) content, we mention the destruction of cut(frame), the various modifications of speech bubbles, onomatopoeia, and mimetic word.

• Journal of Digital Contents Society
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• v.15 no.1
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• pp.39-43
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• 2014

This paper suggested a whiteboard for multimedia collaboration work. We implemented the whiteboard so that the users participated in collaborative work may refer shared media objects as the same view to others. In this paper, we discuss a method for increasing reliability of media data through whiteboard. This paper explains a performance analysis of a media data system running on distributed multimedia environment using the rule-based DEVS modeling and simulation techniques.

• International Journal of Knowledge Content Development & Technology
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• v.4 no.2
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• pp.25-47
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• 2014

The goal of the present study is to explore IM interruption by relating it to media choices and purposes of IM use in the workplace. Two major media choice concepts were: media richness and social influence; while four purposes of IM use were: organization work, knowledge work, socializing, and boundary spanning activities. Data (N = 283) were collected via a combination of convenience and snowball sampling of "computer-using workers" in Taiwan, based on the Standard Occupational Classification system published by the Taiwan government. Results indicated that media choice works better than purpose of IM use to explain IM interruption. Among them, social influence was the best predictor to IM interruption in the workplace. In addition, instant feedback and personalization provided by IM, and IM usage for the purposes of knowledge work and socializing, also relate to IM interruption in the workplace.

• Journal of Digital Convergence
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• v.11 no.6
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• pp.311-317
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• 2013

Most of the existing interactive arts or entertainment systems consist of the following three steps: 1. the system's prompting the action of the participant, 2. action of the participant, and 3. response of the system. They do not presuppose these successive processes are performed continuously and repeatedly, and they are designed to express the concept of the work in each interaction. The opposite approach is to transmit the concept of the work in a continuous and repeated experience. The authors propose "Adjustive Media" as a type of work based on this approach. Adjustive Media has a spiral model with feedback. When participants experience the work repeatedly, they can recognize the difference of results between each interaction, and they can under- stand more closely the intent of the designer. This paper will propose 3 design processes for Adjustive Media as design method, and will introduce the prototypes of Adjustive Media.

• Journal of Broadcast Engineering
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• v.27 no.7
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• pp.1034-1042
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• 2022

Internet of Media Things (IoMT) aims to provide intelligent media services to users by connecting (media) things to each other and exchanging media data. The mission given by the user is automatically executed, and intelligent media service can be provided to the user. To achieve this, ISO/IEC 23093-5 started standardization work on the mission data given by the user to the media thing and the media thing controller (MController) that controls the media things. This paper introduces the contents of ISO/IEC 23093-5.

• International Journal of Computer Science & Network Security
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• v.21 no.4
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• pp.229-240
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• 2021

The article seeks to explore Ukrainian media art and its features in a global context. In particular, it performs an in-depth analysis of the stages of its development from video art of the 1990s, media installations of the 2000s, and to various digital and VR technologies today. Due to historical circumstances, the development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience was broadened through international cooperation and studying abroad. The paper analyzes the presentation of Ukrainian media art outside the country during 1993-2020 and distinguishes the main thematic areas of the artists' work. It examines how artists present and reveal the peculiarities of the Ukrainian worldview, aesthetics, and culture through the problematization of certain aspects and themes in their work. Specifically, among the principal topics which are problematized in the work of media artists are a sensory experience, limited sensory capabilities, gender issues, the Chernobyl tragedy, the development of utopian models of the city, and global communication. The leading themes of Ukrainian artists also include revolution and war. Notably, political and social sentiments determine the unique energy and vitality of contemporary Ukrainian art, create a revolutionary creative environment, and unite media artists in group art projects. It is concluded that by showing, exhibiting, and presenting them outside the country, artists shape the image of Ukrainian art in a global context.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1156-1159
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• 2009

Since the middle of the 1960's, revitalization of the media art has showed a new paradigm shift as a alternative to existing art genre. According to advances in technology the form of art becomes various. Nowdays, art work which is mixed with media and other genre is popular because of hybrid culture. The image medium has flexibilty to incorporate with other genre because of medium character. The media installation that applied the image medium means to mixed work of sculpture and media. The sculpture and media has been broadened the field through the media installation. this study discuss art works projected image on sculpture among various media installation works. The materiality of the sculpture and the vision of the image mix up each other. It is associated with M. Merleau-Ponty's sens theory.