• Trans-
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• v.15
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• pp.81-104
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• 2023

This paper analyzes the danmu phenomenon with the concept of participatory culture proposed by Henry Jenkins. Unlike other comments, Danmu is a function that allows users to post anonymously while watching a video, and comments posted at that time are immediately displayed on the screen and can be viewed by other viewers. The service was first launched by Niconico. In this paper, the danmu phenomenon in the Chinese video platform Bilibili is analyzed by focusing on three aspects. First, in terms of creative sharing under collective intelligence, we explore how users create their own creations and share them with other users through danmu. Second, in the collaboration model under public participation, the method and meaning of collective cooperation through users' interaction is dealt with. Third, in terms of financial support of commercial capital, the influence of danmu videos to create commercial profits is analyzed as a case. In addition, the negative aspects and challenges of participatory culture in Bilibili are analyzed. Negative aspects such as participation gap, copyright infringement, excessive use of danmu and problems of anonymity were reviewed, and major challenges to realize the potential of danmu as a participatory culture were suggested. This paper comprehensively analyzes danmu using research methods such as literature review and case studies, and through this, tries to derive insights on how participatory culture and danmu interact and evolve in modern society. Danmu, as a participatory medium, is an important tool that promotes individual and collective creation and interaction, and is pioneering a new boundary between the media industry and its users.

• Cartoon and Animation Studies
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• s.45
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• pp.27-50
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• 2016

The present study argues that documentary-animation films, which are based on actual human voices, on the level of representation, constitute a new expansion for the medium of animation films, which serve as testimonies to the real world. Animation films are produced using very diverse techniques so that they are complex to the degree of being indefinable, and documentary films, though based on objective representation, increase in complexity in that there exist various types of artificial interventions such as direction and digital image processing. Having emerged as a hybrid genre of the two media, documentary-animation films draw into themselves actual events and elements so that they conceptually share reality-based narratives and are visually characterized by the trappings of animation films. Generally classified as 'animated documentaries', this genre triggered discussions following the release of , a work that is mistaken as having used rotoscoping transforming live action in terms of the technique. When analyzed in detail, however, this work is presented as an ambiguous medium where the characteristics of animation films, which are virtual simulacra without reality, and of documentaries, which are based on the objective indexicality of the referents, coexist because of its mixed use of typical animation techniques, 3D programs, and live-action images. Discussed in the present study, , , and share the characteristics of the medium of documentaries in that the narratives develop as testimonies of historical figures but, at the same time, are connected to animation films because of their production techniques and direction characteristics. Consequently, this medium must be discussed as a new expansion rather than being included in the existing classification system, and such a presupposition is an indispensable process for directly facing the reality of the works and for developing discussions. Through works that directly use the interviewees' voices yet do not transcend the characteristics of animation films, the present study seeks to define documentary-animation films and to discuss the possibility of the medium, which has expanded as a testimony to the real world.

• Journal of the Korean Society for Library and Information Science
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• v.50 no.1
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• pp.331-351
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• 2016

Digitalized data and literature in scholarly community has developed the concept of digital humanities and cyberscholarship which indicate the characteristics of a new aspect and approach in scholarly activities with digitalized resources or new media. This study was performed in order to identify the changes in national research activities of art and humanities by using a multi-modal approach. The combined methodology of in-depth interview and content analysis on publishing and citing behaviors in literature was executed. The steps of research process is identified as a non-linear combination of 3 parts: developing research idea, developing the research idea to write, and submitting manuscript to publish. Prominent implementations of cyberscholarship were found in the 2nd step for accessing and using research data and literatures. Understanding the characteristics of scholar communication using cyberscholarhip factors in humanities for interdisciplinarity, sophisticating the environment of cyberscholarhip for data sharing, investing and developing archivist and archives, and providing a various platform for accelerating scholarly communication were derived by the panel discussion for developing interdisciplinary research for humanities.

• Journal of Korean Philosophical Society
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• v.143
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• pp.245-266
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• 2017

Walter Benjamin's unique concept of the aura is mainly presented in his three essays, Little History of Photography(1931), The Work of Art in the Age of Mechanical Reproduction(1935-1939), and On Some Motifs in Baudelaire(1939), whereas the studies on this concept are principally conducted on the basis of the first two essays. But considering Benjamin elaborated the concept through Baudelaire studies, the aura needs to be reexamined on the axis of "On Some Motifs in Baudelaire". He approached Baudelaire studies in one of the essential items for The Arcades Project at first. These studies acquired a new prospect soon after he mapped out these studies for an independent book in 1938. His Baudelaire studies come to fruition in On Some Motifs in Baudelaire, written one year after The Paris of the Second Empire in Baudelaire(1938). For Benjamin, Baudelaire is not only a poet who sharply testified to the age of the decay of aura, but also the one who elaborated new poetic motifs such as the metropolis, the crowd: the poet searched for his poems in the crowd of the metropolis, by accepting as poetic nourishment all sorts of experiences of the impact of daily occurrunces in Paris. In On Some Motifs in Baudelaire, the aura is defined as the response of a gaze, that is, the capability to gaze on something. It is principally a poetic capacity to give the capability of opening the eyes to an animal, or even to an inanimate object. If a gaze is responded by the other for which the gaze is placed upon, we experience the other's own aura. The media of the mechanical reproduction (such as the photography, the film) give rise to the decay of aura, because the expectation of returning one's gaze becomes frustrated from the outset.

• Journal of Broadcast Engineering
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• v.26 no.3
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• pp.247-257
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• 2021

This paper proposes a new technique for calibrating a multi-view RGB-D camera using a 3D (dimensional) skeleton. In order to calibrate a multi-view camera, consistent feature points are required. In addition, it is necessary to acquire accurate feature points in order to obtain a high-accuracy calibration result. We use the human skeleton as a feature point to calibrate a multi-view camera. The human skeleton can be easily obtained using state-of-the-art pose estimation algorithms. We propose an RGB-D-based calibration algorithm that uses the joint coordinates of the 3D skeleton obtained through the posture estimation algorithm as a feature point. Since the human body information captured by the multi-view camera may be incomplete, the skeleton predicted based on the image information acquired through it may be incomplete. After efficiently integrating a large number of incomplete skeletons into one skeleton, multi-view cameras can be calibrated by using the integrated skeleton to obtain a camera transformation matrix. In order to increase the accuracy of the calibration, multiple skeletons are used for optimization through temporal iterations. We demonstrate through experiments that a multi-view camera can be calibrated using a large number of incomplete skeletons.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.85-95
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• 2021

Currently, we stand between computers as creative tools and computers as creators. A new genre of movies, which can be called a post-cinema situation, is emerging. This paper aims to diagnose the possibility of the emergence of AI cinema. To confirm the possibility of AI cinema, it was examined through a case study whether the creation of a story, narrative, image, and sound, which are necessary conditions for film creation, is possible by artificial intelligence. First, we checked the visual creation of AI painting algorithms Obvious, GAN, and CAN. Second, AI music has already entered the distribution stage in the market in cooperation with humans. Third, AI can already complete drama scripts, and automatic scenario creation programs using big data are also gaining popularity. That said, we confirmed that the filmmaking requirements could be met with AI algorithms. From the perspective of Manovich's 'AI Genre Convention', web documentaries and desktop documentaries, typical trends post-cinema, can be said to be representative genres that can be expected as AI cinemas. The conditions for AI, web documentaries and desktop documentaries to exist are the same. This article suggests a new path for the media of the 4th Industrial Revolution era through research on AI as a creator of post-cinema.

• Cartoon and Animation Studies
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• s.22
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• pp.47-63
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• 2011

Recently, contemporary cultural contents have been shown its diversity changes followed by the birth of new media platforms with consumers' new needs in the global market. Also, developments of Internet and computer system networks are the main contributors of making this changes happened rapidly. This study aims to know that how to usefully use those new media platforms through the great example of stop-motion animation music video by analyzing its production and marketing process. The music video production had been focused to be completed with high quality by adjusting the production process economically in spite of the relatively short period(less than one month)from its crank-up to the deadline. Because the production was planned that main characters lead the whole story, the creative team had been tried to reduce the production hours by commonly use the same mold when they make original clay models by collecting the similarities of characters' appearances. By using CG technic, could overcome the visual monotonous from the similarities which inferred above. Also, the repeated rhythm in the music video, the similar scenes of backgrounds were commonly used by copy of the original scene. At the point of directing, the creative team considered both economical and art aspects for the quality work. In details, they divided the scenes into foreground and background, and removed unnecessary parts to save the production hours and budget but make depth of fields in the scenes. Except the viral marketing purposes, was searching for the methods to compensate the production cost. For this, the characters in the music video dressed the same T-shirts which are world-cup logo on, and those were designed for the sale after released the music video. Even the result of the sales was not enough to satisfied, it was estimated a great attempt to the domestic animation industry.

• Journal of Science of Art and Design
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• v.5
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• pp.87-129
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• 2003

The purpose of this thesis is to propose a new concept of design of the 21st century, on the basis of the study on the general signification of the structures and the signs of industrial product design, by examining the difference between modern and post-modern design, which is expected to lead the users to different design practice and interpretation of it. The starting point of this study is the different styles and patterns of 'Gestalt' in the post-modern design of the late 20th century from modern design - the factor of determination in industrial product design. That is to say, unlike functional and rational styles of modern product design, the late 20th century is based upon the pluralism characterized by complexity, synthetic and decorativeness. So far, most of the previous studies on design seem to have excluded visual aspects and usability, focused only on effective communication of design phenomena. These partial studies on design, blinded by phenomenal aspects, have resulted in failure to discover a principle of fundamental system. However, design varies according to the times; and the transformation of design is reflected in Design Pragnanz to constitute a new text of design. Therefore, it can be argued that Design Pragnanz serves as an essential factor under influence of the significance of text. In this thesis, therefore, I delve into analysis of the 20th century product design, in the light of Gestalt theory and Design Pragnanz, which have been functioning as the principle of the past design. For this study, I attempted to discover the fundamental elements in modern and post-modern designs, and to examine the formal structure of product design, the users' aesthetic preference and its semantics, from the integrative viewpoint. Also, with reference to history and theory of design my emphasis is more on fundamental visual phenomena than on structural analysis or process of visualization in product design, in order to examine the formal properties of modern and post-modern designs. Firstly, In Chapter 1, 'Issues and Background of the Study', I investigated the Gestalt theory and Design Pragnanz, on the premise of formal distinction between modern and post-modern designs. These theories are founded upon the discussion on visual perception of Gestalt in Germany in 1910's, in pursuit of the principle of perception centered around visual perception of human beings. In Chapter 2, I dealt with functionalism of modern design, as an advance preparation for the further study on the product design of the late 20th century. First of all, in Chapter 2-1, I examined the tendency of modern design focused on functionalism, which can be exemplified by the famous statement 'Form follows function'. Excluding all unessential elements in design - for example, decoration, this tendency has attained the position of the international style based on the spirit of Bauhause - universality and regularity - in search of geometric order, standardization and rationalization. In Chapter 2-2, I investigated the anthropological viewpoint that modern design started representing culture in a symbolic way including overall aspects of the society - politics, economics and ethics, and its criticism on functionalist design that aesthetic value is missing in exchange of excessive simplicity in style. Moreover, I examined the pluralist phenomena in post-modern design such as kitsch, eclecticism, reactionism, hi-tech and digital design, breaking away from functionalist purism of modern design. In Chapter 3, I analyzed Gestalt Pragnanz in design in a practical way, against the background of design trends. To begin with, I selected mass product design among those for the 20th century products as a target of analysis, highlighting representative styles in each category of the products. For this analysis, I adopted the theory of J. M Lehnhardt, who gradated in percentage the aesthetic and semantic levels of Pragnantz in design expression, and that of J. K. Grutter, who expressed it in a formula of M = O : C. I also employed eight units of dichotomies, according to the G. D. Birkhoff's aesthetic criteria, for the purpose of scientific classification of the degree of order and complexity in design; and I analyzed phenomenal aspects of design form represented in each unit. For Chapter 4, I executed a questionnaire about semiological phenomena of Design Pragnanz with 28 units of antonymous adjectives, based upon the research in the previous chapter. Then, I analyzed the process of signification of Design Pragnanz, founded on this research. Furthermore, the interpretation of the analysis served as an explanation to preference, through systematic analysis of Gestalt and Design Pragnanz in product design of the late 20th century. In Chapter 5, I determined the position of Design Pragnanz by integrating the analyses of Gestalt and Pragnanz in modern and post-modern designs In this process, 1 revealed the difference of each Design Pragnanz in formal respect, in order to suggest a vision of the future as a result, which will provide systemic and structural stimulation to current design.

• Korea Science and Art Forum
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• v.37 no.5
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• pp.119-133
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• 2019

This study is as skyscrapers are becoming increasingly taller, more constructors have decided the height alone cannot be a sufficient differentiator. As a result, atypical architecture is emerging as a new competitive factor. Also, it can be used for symbolizing the economic competitiveness of a country, city, or business through its form. Before the introduction of digital media, there was a discrepancy between the structure and form of a building and correcting this discrepancy required a separate structural medium. Since the late 1980s, however, digitally-based atypical form development began to be used experimentally, and, until the 2000s, it was used mostly for super-tall skyscrapers for offices or for industrial chimneys and communication towers. Since the 2000s, many global brand hotels and commercial and residential buildings have been built as super-tall skyscrapers, which shows the recent trend in architecture that is moving beyond the traditional limits. Complex atypical structure is formed and the formative characteristics of diagonal lines and curved surfaces, which are characteristics of atypical architecture, are created digitally. Therefore, it's goal is necessary to identify a new relationship between the structure and forms. According to the data of Council on Tall Buildings and Urban Habitat (CTBUH), 100-story and taller buildings were classified into typical, diagonal, curved, and segment types in order to define formative shapes of super-tall skyscrapers and provide a ground of the design process related to the initial formation of the concept. The purpose of this study was to identify the correlation between different forms for building atypical architectural shapes that are complex and diverse. The study results are presented as follows: Firstly, complex function follows convergence form characteristics. Secondly, fold has inside of architecture with repeat. Thirdly, as curve style which has pure twist, helix twist, and spiral twist. The findings in this study can be used as basic data for classifying and predicting trends of the future super-tall skyscrapers.

• Korean journal of communication and information
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• v.78
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• pp.177-205
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• 2016

This study set out to investigate the reality of local press and changes to the occupational identity of reporters through the job mobility of reporters at local newspapers. The study examined what reasons the reporters had when they retired from one of three paper newspapers in Daejeon, where they moved to, and how their career mobility was. Some of them remained in the field of journalism including paper newspapers of the same kind and Internet newspapers, and others moved to various areas including politics, administration, academy, economy, and culture and art. The biggest number of them said they left their old paper newspapers because of poor wages and welfare benefits and absence of future visions. Their decision of leaving their old paper newspapers was also influenced by restructuring, restrictions to coverage and reporting, and great workload. Before the IMF foreign currency crisis in 1997, the press labor market was a typical internal labor market with the practitioners joining a newspaper in open recruitment and climbing up the promotion ladder from a common reporter through Deputy Head and Head of a department to Director of a bureau. The emergence of new media and the financial difficulties of newspaper corporations were currently making the internal labor market worse. Reporters made active use of social capital such as regionalism, alumni ties, and news beats rather than changing jobs by increasing their professionalism through self-development, thus causing side effects including the weakened supervision and criticism functions of local newspapers and damaging their occupational identity as reporters.