• Cartoon and Animation Studies
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• s.41
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• pp.533-552
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• 2015

The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.

• Journal of KIISE:Computing Practices and Letters
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• v.7 no.6
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• pp.593-601
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• 2001

This paper presents an efficient system for power system education using 3-D computer graphics animation in the PC environment. Several power system phenomena are simulated using Real-Time Digital Simulator. Results are transmitted through on-line communication line to PC for graphic animation, and simulated in the 3-D graphics animation. It can immediately reflect user control input and re-simulated this result. The proposed method was tested on both the sub-synchronous resonance phenomena and multi-bus system. It is expected that the proposed method would be helpful for the operator training as well as power system education.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.572-575
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• 2005

In digital contents industry there is a high demand to convincingly mimic the appearance and behavior of natural phenomena such as smoke, waterfall, rain, and fire. Particle systems are methods adequate for modeling fuzzy objects of natural phenomena. It is clear which parameter of which action in a particular effect should be modified for a particular visual result. The generator is usable for offline animation and for real-time special effects in digital contents and virtual reality. The application programmer is able to specify different accuracy needs for different effects. This paper design special effect generator for make low-price and high-quality digital contents in reflection industry and virtual reality applications.

• Journal of Korea Game Society
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• v.7 no.3
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• pp.77-88
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• 2007

In this paper, we present a new fire animation and visualization scheme. The most difficult problem in creating fire animation is how to simulate the mechanism of emitting lighting and heat of fire. We attack the difficulty by presenting a hybrid scheme that combines the simulation scheme and the combustion process in voxelized space where the numerical solution of the classical fluid equations is implemented. Therefore, the combustion process is simulated at each voxel and the amount of heat generated at the voxel is estimated. The generated heat will increase the temperature at the voxel, where results in the increase of turbulent motion of fire. We also propose a visualization scheme that modifies the photon mapping algorithm in order to render fire and various lighting effects of fire to the environments.

• 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'.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Proceedings of the KSME Conference
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• 2004.04a
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• pp.1672-1677
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• 2004

Leading edge extension(LEX) in a highly swept shape applied to a delta wing features the modem air-fighters. The LEX vortices generated upon the upper surface of the wing at high angle of attack enhance the lift force of the delta wing by way of increased negative suction pressure over the surfaces. The present 3-D stereo PIV includes the Identification of 2-D cross-correlation equation, stereo matching of 2-D velocity vectors of two cameras, accurate calculation of 3-D velocity vectors by homogeneous coordinate system, removal of error vectors by a statistical method followed by a continuity equation criterion and so on. A delta wing model with or without LEX was immersed in a circulating water channel. Two high-resolution, high-speed digital cameras($1280pixel{\times}1024pixel$) were used to allow the time-resolved animation work. The present dynamic stereo PIV represents the complicated vortex behavior, especially, in terms of time-dependent characteristics of the vortices at given measuring sections. Quantities such as three velocity vector components, vorticity and other flow information can be easily visualized via the 3D time-resolved post-processing to make the easy understanding of the LEX effect or vortex emerging and collapse which are important phenomena occurring in the field of delta wing aerodynamics.

• 한국가시화정보학회:학술대회논문집
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• 2003.11a
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• pp.39-42
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• 2003

Leading edge extension(LEX) in a highly swept shape applied to a delta wing features the modern air-fighters. The LEX vortices generated upon the upper surface of the wing at high angle of attack enhance the lift force of the delta wing by way of increased negative suction pressure over the surfaces. The present 3-D stereo PIV includes the Identification of 2-D cross-correlation equation, stereo matching of 2-D velocity vectors of two cameras, accurate calculation of 3-D velocity vectors by homogeneous coordinate system, removal of error vectors by a statistical method followed by a continuity equation criterion and so on. A delta wing model with or without LEX was immersed in a circulating water channel. Two high-resolution, high-speed digital cameras$(1280pixel\times1024pixel)$ were used to allow the time-resolved animation work. The present dynamic stereo PIV represents the complicated vortex behavior, especially, in terms of time-dependent characteristics of the vortices at given measuring sections. Quantities such as three velocity vector components, vorticity and other flow information can be easily visualized via the 3D time-resolved post-processing to make the easy understanding of the LEX effect or vortex emerging and collapse which are important phenomena occurring in the field of delta wing aerodynamics.