• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.77-89
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• 2020

The film "Parasite" portrays Korea's history and its present in a space that clearly represents the real world's hierarchy as a vertical structure. It demonstrates the problems of an insurmountable reality and the elements of various conflicts occurring below the surface of Korean society through a complex mix of human emotions and relationships. The most realistic yet unrealistic characters cross boundaries between being victims and perpetrators, defamiliarizing ordinary scenes from everyday life through their small mistakes, strange obsessions, bizarre behavior, anxious psychology, and desperate struggles. This study analyzes the expression of the film "Parasite" through its characters with the belief that the film expresses director Bong Joon-ho's consistent cinematic philosophy of taking reality beyond the traditional rules of film genres. By doing so, Bong creates a feature of the expression that shifts genres as the characters' personalities amplify related behaviors, conflicts and questions, and that this is the core of the unique nuance and distinct humor of this film. In addition, the personalities of the characters interact with all the film's elements (cinematic techniques, space, props, etc.), evoking effects of various meanings, which are transmitted through the actors'images and acting. In this respect, the study analyzes how the actors were cast in order to realistically reproduce the characters of the actors, how their acting was harmonized with the film's elements, and its features as well as how they were expressed.

• Journal of the Korea Computer Graphics Society
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• v.28 no.3
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• pp.91-100
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• 2022

This study proposes the metaverse content production pipeline using ZEPETO World, one of the representative metaverse platforms in Korea. Based on the Unity 3D engine, the ZEPETO world is configured using the ZEPETO template, and the core functions of the metaverse content that enable multi-user participation such as logic, interaction, and property control are implemented through the ZEPETO script. This study utilizes the basic functions such as properties, events, and components of the ZEPETO script as well as the ZEPETO player which includes avatar loading, character movement, and camera control functions. In addition, based on ZEPETO's properties such as World Multiplayer and Client Starter, it summarizes the core synchronization process required for multiplay metaverse content production, such as object transformation, dynamic object creation, property addition, and real-time property control. Based on this, we check the proposed production pipeline by directly producing multiplay metaverse content using ZEPETO World.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• KIPS Transactions on Computer and Communication Systems
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• v.12 no.3
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• pp.103-110
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• 2023

With the spread of the Internet, anonymous communities emerged along with the activation of communities for communication between people, and many users are doing harm to others, such as posting aggressive posts and leaving comments using anonymity. In the past, administrators directly checked posts and comments, then deleted and blocked them, but as the number of community users increased, they reached a level that managers could not continue to monitor. Initially, word filtering techniques were used to prevent malicious writing from being posted in a form that could not post or comment if a specific word was included, but they avoided filtering in a bypassed form, such as using similar words. As a way to solve this problem, deep learning was used to monitor posts posted by users in real-time, but recently, the community uses words that can only be understood by the community or from a human perspective, not from a general Korean word. There are various types and forms of characters, making it difficult to learn everything in the artificial intelligence model. Therefore, in this paper, we proposes a preprocessing technique in which each character of a sentence is imaged using a CNN model that learns the consonants, vowel and spacing images of Korean word and converts characters that can only be understood from a human perspective into characters predicted by the CNN model. As a result of the experiment, it was confirmed that the performance of the LSTM, BiLSTM and CNN-BiLSTM models increased by 3.2%, 3.3%, and 4.88%, respectively, through the proposed preprocessing technique.

• Journal of the Korea Computer Graphics Society
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• v.30 no.3
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• pp.149-158
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• 2024

Photo booths have traditionally provided a fun and easy way to capture and print photos to cherish memories. These booths allow individuals to capture their desired poses and props, sharing memories with friends and family. To enable diverse expressions, generative AI-powered photo booths have emerged. However, existing AI photo booths face challenges such as difficulty in taking group photos, inability to accurately reflect user's poses, and the challenge of applying different concepts to individual subjects. To tackle these issues, we present CINEMAPIC, a photo booth system that allows users to freely choose poses, positions, and concepts for their photos. The system workflow includes three main steps: pre-processing, generation, and post-processing to apply individualized concepts. To produce high-quality group photos, the system generates a transparent image for each character and enhances the backdrop-composited image through a small number of denoising steps. The workflow is accelerated by applying an optimized diffusion model and GPU parallelization. The system was implemented as a prototype, and its effectiveness was validated through a user study and a large-scale pilot operation involving approximately 400 users. The results showed a significant preference for the proposed system over existing methods, confirming its potential for real-world photo booth applications. The proposed CINEMAPIC photo booth is expected to lead the way in a more creative and differentiated market, with potential for widespread application in various fields.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• The Korean Journal of Ecology
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• v.27 no.3
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• pp.165-171
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• 2004

Weight loss and nutrients dynamics during decomposition of oak roots (diameter classes: R₁〈0.2㎝, 0.5㎝〈R₂〈1㎝, 1㎝〈R₃〈2㎝, 2㎝.〈R₄〈4㎝) (Quercus acutissima) were studied for 33-months in Kongiu, Korea. After 33-months, decomposition rate of R₁, R₂, R₃ and R₄ was 49.6%, 47.5%, 66.4% and 66.1%, respectively. The decomposition constant(k) for R₁, R₂, R₃, and R₄ was 0.249/yr, 0.234/yr, 0.397/yr and 0.393/yr, respectively. Larger diameter class of the root lost more weight than smaller diameter class. N concentration in decomposing oak roots increased in all diameter classes. After 33-months, remaining N in R₁, R₂, R₃ and R₄ was 66.5%, 80.7%, 84.4% and 44.4%, respectively. K concentration in decomposing oak roots decreased in early part of decomposition and then increased in later stage of decomposition. After 33-months, remaining P in R₁, R₂, R₃ and R₄ was 64.7%, 62.4%, 93.1% and 30.7%, respectively. K concentration in decomposing oak roots decreased rapidly in early stage of decomposition. Remaining K in R₁, R₂, R₃ and R₄ was 11.6%, 10.6%, 5.9% and 7.7%, respectively. Ca concentration in decomposing oak roots showed different among diameter classes. After 33-months, remaining Ca in R₁, R₂, R₃ and R₄ was 66.2%, 51.0%, 39.1% and 48.3%, respectively. Initial concentration of Mg in oak root was higher in smaller diameter class. After 33-months, remaining Mg in R₁, R₂, R₃ and R₄ was 15.3%, 29.9%, 24.5% and 69.4%, respectively.

• The Journal of Dong Guk Oriental Medicine
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• v.8 no.2
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• pp.1-24
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• 2000

The comparison of climate's character of Yunqi(運氣) with the data of meterological observation were made in the research of climate. 1. The comparison of the average velocity of wind, temperature, rainfall, humidity of Seoul, by late 1954 to 1983, with Yunqi(運氣) was made. Fire-Chi(火氣) and moisture-qi(濕氣) were matched with the attribute of Taiyun(大運). Cold-qi(寒氣) was had some relationship. Dry-qi(燥 氣) and Wind-qi(風氣) were not matched. About the relationship of Spirit-of-official-sky(司天之氣) with climate, when the Moisture-soil(濕土) was added, they were matched and when the King-fire(君火) was added, they have some relationship. But Wind-tree(風木), Dry-metal(燥金), Buble-fire(相火), Cold-water(寒水) was added they were not matched. 2. According to the observation data of rainfall by late 180 years of Seoul; about Taiyun(大運), when the Water-Yun(水運) was greatly exceeded and Fire-Yun(火運) was shorted, in the case of Official-sky(司天), when Wind-Tree(風木) was added, the frequency was highly. So when the Soil-Yun(土運) was greatly exceeded and when Official-sky(司天)was added to the Moisture-soil(濕土), the rainfall was not matched. 3. The relationship of the frequency of the abnormal climate occurrences between Yunqi-promotion-weak(運氣盛衰)and Yunqi-Harmony(運氣同化) and Yunqi-soft-attacking(運氣順逆) in the weather of Korean Peninsula was compared by 1564 to 1863. They were not matched except the case of Yunqi-Harmony(運氣同化). 4. There were some cases which were not matched exactly between the climate predicted by the theory and real climate in 1984, the year of Kap-ga(甲子年). But many correspondence between the observation by the office of meteorology and the prediction by the analysis from Yun-qi-sang-hab(運氣相合) theory. 5. Because meterological phenomena of real world and analysis from the hypothesis of Yunqi(運氣) have no relationship with each other, some of Doctor denied Yunqi(運氣) in the way of matching mechanically. But the thought of Doctor who denied Fortune-spirit(運氣) made promotion for the theory of divination by bringing deeper insight. And it was not only the negative side. 6. In the point of geographical difference, the climate of China, the origination Yunqi theory, is different from the Korea's. Thus some observation errors should be considered. From the basis of this thesis, I hope that the deeper advance would be made into the Korean Yunqi theory.

• Cartoon and Animation Studies
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• s.41
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• pp.279-306
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• 2015

This paper is a study of the changing nature of software for virtual Cyborg self and the virtual body that occur in the game from a philosophical point of view. Looking broadly, the cyborg concept refers to the combination of man and machine. Specifically, there is a hardware cyborg organism to combine human and restoration of machine In addition, there is software cyborg by electronic the human brain of converting a virtual body. Virtual games are cases software-Cyborg applied. In the game , There seems to have characteristics of virtual body and ego that different from general cyborg meaning. To analyze the features, I applied the concept of software-cyborg of Hans morabek and the multiple selves in cyberspace properties of Kim Sun-Hee. generally, software cyborg cloning the brain type tended to invalidate the body due to the nature of the virtual world. But If you look at third-person's view and the game character that made from real actors, it is pursuing the realism of photographic images and it stressed the need for a virtual body in order to maintain the psychological identity of the player. And, The game player crosses the eight characters to choose while completing the mission. This is a big role in the reality ego leads to the desired final ending with the selection and experience to be experienced as self-replication to multiple. These cyber multi-ego looks for an active and positive features compared to the multi-ego in the real world and highlights the advantages of the software cyborg. Game The characteristics of the final result varies depending on the selection of the player. The life and death of a friend is determined by the relationship between the characters friendship. In this case, the virtual self is empirically through trial and error, moral, and try to select the desired setting the standard for intuitive and self own choice. Also It can be fused to the knowledge of multiple selves as one step is formed by a high spiritual introspection. This process is a positive interpretation of the world and their own forms of mental reflection through self-overcoming human, Nietzsche is said that the process is Wibeomenswi.