• Proceedings of the Korea Society for Simulation Conference
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• 1997.04a
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• pp.81-85
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• 1997

In a virtual environment, agents must demonstrate some degree of realism and interactivity. This paper discusses the algorithm that enables agents to navigate a virtual road network realistically and interactively. The road description files written in this language provide the information of road environments to the navigating agents and the scene visualizer. We call this navigating agent in the road an ambient car. The ambient cars must follow the traffic rules as human does. To do this, the ambient car should continuously check its circumstances, such as, the traffic lights, lanes, road signs, and other ambient cars. Because of the huge scale of road network and the large number of ambient cars, the algorithm considers only the area where the participant is currently located. By this locality, the performance of the whole system does not fluctuate much in different situations. The behavior of ambient cars according to the predefined rules may appear monotonous. We added probability distribution functions to introduce some randomness. We implemented the above idea on silicon Graphics Indigo 2 workstation. The ambient car exhibited its awareness of lanes, traffic lights, and other cars. The participants could hardly distinguish between a human-controlled car and computer-controlled ambient car generated by the algorithm.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.42 no.2 s.302
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• pp.113-120
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• 2005

3D reconstruction of a scene structure from un-calibrated image sequences has been long one of the central problems in computer vision. For 3D reconstruction in Euclidean space, projective reconstruction, which is classified into the merging method and the factorization, is needed as a preceding step. By calculating all camera projection matrices and structures at the same time, the factorization method suffers less from dia and error accumulation than the merging. However, the factorization is hard to analyze precisely long sequences because it is based on the assumption that all correspondences must remain in all views from the first frame to the last. This paper presents a new projective reconstruction method for recovery of 3D structure over long sequences. We break a full sequence into sub-sequences based on a quantitative measure considering the number of matching points between frames, the homography error, and the distribution of matching points on the frame. All of the projective reconstructions of sub-sequences are registered into the same coordinate frame for a complete description of the scene. no experimental results showed that the proposed method can recover more precise 3D structure than the merging method.

• The Southeast Asian review
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• v.20 no.3
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• pp.223-262
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• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.

• (The)Study of the Eastern Classic
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• no.68
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• pp.99-144
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• 2017

This paper focused on the narrative and theme of which is one of the different versions of when published in 1910's as a modern printing. Generally researchers regarded different version as a means of research for finding best version. But this paper aimed at the characteristics of different version . This version kept in mind for play(drama), so we could easily find the purpose of change for scenario. 'Yeon-jeong' in is 연정(演訂) in Korean words in Chinese characters. It is sure that this word means that the text considered play(drama). The narrative of also told us that this old novel aimed at the stage. Tendencies are classified four features, first, abundant situation description, second, frequent direct conversation, third, concrete description about direct conversation, fourth, showing poem and appeal for audience. The theme of has an interesting differences in comparison to the group of best version. When main character awakened, this novel showed the most important message. In the group of best version, he awakened to the cloud that he couldn't distinguish anything. But in this novel, cloud didn't appear, in other words, didn't change the scene. Instead, main character realize himself that he changed from Yang-so-yoo to Seong-jin. It is probable that change of process to conclusion aroused reader and audience's sympathy. To sum up, we could know that this novel kept in mind for play(drama).

• Journal of KIISE:Databases
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• v.32 no.4
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• pp.383-393
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• 2005

Retrieval of images from image databases by spatial relationship can be effectively performed through visual interface systems. In these systems, the representation of image with 2D strings, which are derived from symbolic projections, provides an efficient and natural way to construct image index and is also an ideal representation for the visual query. With this approach, retrieval is reduced to matching two symbolic strings. However, using 2D-string representations, spatial relationships between the objects in the image might not be exactly specified. Ambiguities arise for the retrieval of images of 3D scenes. In order to remove ambiguous description of object spatial relationships, in this paper, images are referred by considering spatial relationships using the spatial location algebra for the 3D image scene. Also, we remove the repetitive spatial relationships using the several reduction rules. A reduction mechanism using these rules can be used in query processing systems that retrieve images by content. This could give better precision and flexibility in image retrieval.

• Journal of KIISE:Computing Practices and Letters
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• v.10 no.3
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• pp.251-258
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• 2004

The XMT standard is MPEG-4 Scene Description of textual format. It can be utilized to edit the audio/video media for broadcasting and develop the user oriented media contents. This paper proposes XMT authoring system that supports exchange among contents in various presentation environment. The XMT authoring system creates two levels of textual syntax and semantics: XMT-$\alpha$ format and XMT-$\Omega$ format. Because XMT-$\alpha$ and XMT-$\Omega$ have different expression method about an object, the authoring tool offers interface for them. the authoring tool offers interface for them. Also, it defines interior data structure that can support two file formats, and offers the function that transforms XMT-$\alpha$ into BIFS and transforms XMT-$\Omega$ into SMIL or XMT-$\alpha$. It offers interoperability among multimedia data in various environment that is XMT's characteristic.

• Journal of Broadcast Engineering
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• v.16 no.5
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• pp.811-823
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• 2011

This paper proposes an efficient transmission method for the panoramic multimedia contents. The panoramic video provides wide sight and various view-point to the user. The traditional methods of the panoramic multimedia content transmission has several limitations, as follow; A client suffers a long initial delay time to play a panoramic video when it is transmitted through a limited bandwidth network, because the panoramic video has larger data size than a general video. And if a client's display device has limited resolution, such as mobile phone, laptop PC monitor, etc. it can not display the entire panoramic video that has a wide view video sequence. So, in order to overcome the obstacles, this paper proposes an efficient transmission of panoramic multimedia contents. This method will increase the transmission efficiency throughout the technique of the scene description in MPEG-4 system. Also we demonstrated the efficiency of the proposed method by comparison with existing methods.

• Science of Emotion and Sensibility
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• v.18 no.3
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• pp.3-16
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• 2015

Will orange scent enhance video reality if it is presented with a video which vividly illustrates orange juice? Or, will romantic scent improve video reality if it is presented along with a date scene? Whereas the former is related to reality improvement when concrete objects or places are present in a video, the latter is related to a case when they are absent. This paper reviews previous research which tested diverse videos and scents in order to answer the above two different questions, and discusses implications, limitations, and future research directions. In particular, this paper focuses on measurement methods and results regarding acceptability of olfactory information, perception of scent similarity, olfactory vividness and video reality, matching between scent vs. color (or color temperature), and description of various scents using emotional adjectives. We expect this paper to help researchers or engineers who are interested in using scents for video reality.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.07a
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• pp.202-205
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• 2012

최근 멀티미디어 분야에서 다양한 입/출력 장치들이 개발됨에 따라 입/출력 장치와 사용자 사이의 향상된 상호작용(AUI : Advanced User Interaction)을 위한 방법들이 연구되고 있다. AUI에서 정의되는 데이터는 입/출력 장치와 다양한 객체(비디오, 오디오, 2D 그래픽 객체, 애니메이션 등)로 표현되는 Scene Description 사이에서 서로 정보를 주고받기 위한 매체이다. 따라서 다양한 입/출력 장치와 사용자 사이의 향상된 상호작용을 위해서는 AUI 데이터 형식이 공통적으로 정의되어야한다. 이를 위해 ISO/IEC JTC1/SC29/WG11 Moving Picture Experts Group(MPEG)에서는 XML(Extensible Markup Language) 문서로 AUI 데이터 포맷을 표준화하기 위한 MPEG-U 프로젝트를 진행 중이다. 본 논문에서는 MPEG-U의 표준을 소개하고, 이의 타당성을 검증하기 위해서 MPEG-U 참조 소프트웨어를 설계하였다. MPEG-U 참조 소프트웨어는 크게 UID(User Interaction Device)의 데이터를 처리하는 사용자 인터페이스 입/출력부와 XML 문서를 처리하는 MPEG-U XML 생성/해석부로 구성된다. 사용자 인터페이스 입력부에서는 사용자의 손동작을 인식하여 AUI 파라미터로 저장하고, 이 파라미터를 MPEG-U XML 생성부에서 MPEG-U 표준 XML 스키마 구조로 서술하여 표준화된 AUI 데이터 포맷을 생성한다. 다시 표준화된 XML 문서를 읽어 MPEG-U XML 해석부에서 파라미터를 얻고, 사용자 인터페이스 출력부에서 GUI(Graphic User Interface)에서 그래픽 객체로 표현한다. 본 연구에서는 MPEG-U 참조 소프트웨어로 MPEG-U의 용용 예를 제시하고, 구현된 소프트웨어가 표준에 적합한지를 보였다.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.9-20
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• 2012

In computer vision, it is very important to obtain reliable corresponding feature points. However, we know it is not easy to find the corresponding feature points exactly considering by scaling, lighting, viewpoints, etc. Lots of SIFT methods applies the invariant to image scale and rotation and change in illumination, which is due to the feature vector extracted from corners or edges of object. However, SIFT could not find feature points, if edges do not exist in the area when we extract feature points along edges. In this paper, we present a new placement method of marker to improve the performance of SIFT feature detection and matching between different view of an object or scene. The shape of the markers used in the proposed method is formed in a semicircle to detect dominant direction vector by SIFT algorithm depending on direction placement of marker. We applied De Bruijn sequence for the markers direction placement to improve the matching performance. The experimental results show that the proposed method is more accurate and effective comparing to the current method.