• Journal of Korea Multimedia Society
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• v.10 no.1
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• pp.117-127
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• 2007

As the value of the multimedia data is getting high, the study on the semantic recognition and retrieval about the multimedia information is strongly demanded. In this paper, we build the motion ontology and adopt it for representing the meaning of the moving objects in video data. By referencing the WordNet structure, we extend its semantic meaning based on the reclassification of motion verbs, which are used to represent the semantic meaning of moving objects. The represented information is receded in OWL/RDF(S). Here, we could expect the 'Is-A' and 'Equivalent' reasoning of the data as we use the ontologies. And the semantic representation about the moving objects is possible through the video annotation using ontology. And we tested the accuracy of the system comparing with the key-word based system. As a result, we could get the approximately 10% improvement of the system performance.

• Journal of Korean Society for Geospatial Information Science
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• v.20 no.4
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• pp.67-75
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• 2012

For the last few years, LBS has attracted considerable attention from many industries and societies as a result of propagated smart devices. LBS has a high utilization of mobile users as it uses user positions as a significant factor. Current LBS has only taken user position into account and it makes some limits. So, it is necessarily suggested that support for personalized services which consider user's motion, traffic condition, weather condition, time, personal information and preferences that have a huge impact on the accuracy. The purpose of this study is to design the inference systems with user's motion, preferences and schedules and provide users with the personalized information. To achieve this, Movement Ontology, User Profile Ontology, Schedule Ontology and Work Ontology should be constructed and based on this, smart applications were developed. Developed applications induced appropriately recommended results according to user's preference, motion and directions.

• Proceedings of the Korea Information Processing Society Conference
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• 2005.05a
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• pp.177-180
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• 2005

오늘날 디지털 비디오 처리 시스템의 성능 향상 및 분석을 위한 많은 방법론이 연구되어 왔지만, 저차원 레벨의 성분에 기반을 둔 것이 일반적이다. 그러나 사용자의 요구는 단순한 저차원의 인식이 아니라 비디오 데이터 내에 포함된 의미를 이해하는 것으로 고차원 레벨의 의미 분석 방법론이 대두되고 있다. 이에 본 논문에서는 객체간 시공간적(Spatio-Temporal) 관계 모델에 기반한 움직임의 메타데이터에 대한 의미적 공간을 생성하기 위해 모션 온톨로지(Motion Ontology)를 제안한다. 이는 의미 기반 비디오 검색을 위한 프레임워크를 제공할 뿐만아니라 자동 나레이션 생성 등에 이용할 수 있을 것이다.

• Journal for History of Mathematics
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• v.30 no.2
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• pp.87-100
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• 2017

The ontological status of Newtonian space-time has been debated under the name of substantivalism-relationism controversy. The debates between the two parties are concerned with the nature of existence of space-time. Substantivalism maintains that the points of space-time have existence analogous to material substance. Relationism claims that space-time should be understood as the framework of possible spatio-temporal relations between bodies. Newtonian space is considered as a three dimensional entity in accordance with our geometric common sense. Yet given that the concept of motion is defined as the change of position throughout time, it is possible to interpret space-time as a 4 dimensional entity. In this essay, substantivalist-relationist debate is considered within the context of non-relativistic 4 dimensional space-time theory. This essay attempts to clarify the dispute over the ontology of space-time by elucidating the relationship between the ontology of space-time, motion, and space-time symmetry.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.10 no.9
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• pp.1691-1699
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• 2006

This thesis proposes standard of knowledge-base system architecture for managing conferences in order to make ontology in the put of a conference rather than all parts. Also, this thesis proposes possibility of developing into the system that systematize transformed and processed information through various recognition systems, video conference, speech recognition, motion recognition, and so on, make knowledge and analyze it after preparing standards of objective estimation through simulation and analysis.

• Journal of Korea Multimedia Society
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• v.8 no.5
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• pp.618-632
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• 2005

A framework for semantic annotation oi human motion sequences is proposed in this paper. Motion capture technology is widely used for manuiacturing animation since it produces high qualify character motion similar to the actual motion of the human body. However, motion capture has a significant weakness due to the lack of an industry wide standard for archiving and retrieving motion capture data. It is difficult for animators to retrieve the desired motion sequences from motion capture files as there is no semantic annotation on already captured motion data. Our goal is to improve the reusability of motion capture data. To archive our goal first, we propose a standard format for integrating different motion capture file formals. Our standard format is called MCML (Motion Capture Markup Language). It is a markup language based on XML (extensible Markup Language). The purpose of MCML is not only to facilitate the conversion or integration of different formats, but also to allow for greater reusability of motion capture data, through the construction of a motion database storing the MCML documents Second, we define motion ontologies that are used to annotate and semantically organize human motion sequences. This ontology-based approach provides the means for discovering and exploiting the information and knowledge surrounding motion capture data.

• Journal of Korean Philosophical Society
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• v.144
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• pp.235-256
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• 2017

This essay considers Leibniz-Clark correspondence on the nature of space and hole argument. The ontology of space had been debated under the name of substantivalism-relationism controversy. The debates between the two parties are concerned with the nature of existence of parts of space-time. Substantivalism claims that the point of space-time has existence analogous to that of material substance. Relationism argues that space-time should be understood as the framework of possible spatio-temporal relations between bodies. Although these two approaches attempt to respect theoretical context, it seems that the problems of these two interpretive schemes stems from the lack of understanding of the structure of space-time theories, especially how space-time is connected with the laws of motion. In order to appreciate the substance-relation controversy without deviating from the context of space-time theories, it is necessary then to capture how space-time theories are constituted. This essay offers the clear connection of ontology of space-time with present practices of theoretical physicists.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.