• Communications of the Korean Mathematical Society
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• v.38 no.1
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• pp.223-234
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• 2023

The main purpose of this paper is to study the lightlike hypersurface (M, $\overline{g}$) of cosymplectic space form $\overline{M}$(c). In this paper, we computed the Gauss and Codazzi formulae of (M, $\overline{g}$) of cosymplectic manifold ($\overline{M}$, g). We showed that we can't obtain screen semi-invariant lightlike hypersurface (SCI-LH) of $\overline{M}$(c) with parallel second fundamental form h, parallel screen distribution and c ≠ 0. We showed that if second fundamental form h and local second fundamental form B are parallel, then (M, $\overline{g}$) is totally geodesic. Finally we showed that if (M, $\overline{g}$) is umbilical, then cosymplectic manifold ($\overline{M}$, g) is flat.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.31-41
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• 2019

A fog screen consists of tiny water drops and the viewers see the image transmitted through the fog screen. In contrast to ordinary screens, the viewers can see the actors passing through the image on the fog screen on stage. In this paper, we describe methods to build a top-down fog screen where fog particles generated in top space fall by gravity forming a flat vertical screen. We use a fog generation technique in which fog particles come out of the water surface when ultrasound vibrators immersed in water tank vibrate. We describe how fog particles form a flat screen while coming out of the fog passage tunnel, by generating guiding winds beside the fog screen. This technique utilizes the principle that fog particles are generated on the surface of a water tank by an ultrasonic vibrator placed in a water tank. The technique of forming a guiding wind on both sides of the passage exit where the fog comes out and the design and manufacturing method of the fog screen generating device are described so that the generated fog group can maintain one plane.

• Archives of design research
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• v.19 no.4 s.66
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• pp.205-208
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• 2006

This work is a interactive digital art work which used the multiplex of jitter. It is an work which used a cross concept of two images. This work shows two kinds of images. One is on the wall through the gap of fluorescent lamp screen, and the other is on the fluorescent lamp screen. Two images are intercepted and comes out to the length as the multiplex of the jitter. The appearance of the spectator be recognized on the fluorescent lamp screen or on the wall, by two branch image which comes out intersecting of a length with multiplex function of the jitter. Two branch features of the image which it produces and the spectator which is input at real-time is equally divided, or in impression of juxtaposition goes in the spectator. It expresses the duplicity of the human being, with physical existence space divides the time space which we feel and there is a governing grammar which is different with each other and to express the thing it becomes. It used the image of the screen which it produces with the fluorescent lamp and cross concept.

• Journal of the Korea Computer Graphics Society
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• v.27 no.4
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• pp.11-24
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• 2021

In this paper, we propose an artificial neural network framework that can represent the foam effects expressed in liquid simulation in detail without noise. The position and advection of foam particles are calculated using the existing screen projection method, and the noise problem that appears in this process is solved through an proposed artificial neural network. The important thing in the screen projection approach is the projection map, but noise occurs in the projection map in the process of projecting momentum into the discretized screen space, and we efficiently solve this problem by using an artificial neural network-based denoising network. When the foam generating area is selected through the projection map, 2D is inversely transformed into 3D space to generate foam particles. We solve the existing denoising network problem in which small-scaled foam particles disappear. In addition, by integrating the proposed algorithm with the screen-space projection framework, all the advantages of this approach can be accommodated. As a result, it shows through various experiments whether it is possible to stably represent not only the clean foam effects but also the foam particles lost due to the denoising process.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.105-112
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• 2023

Attempts to embody the three-dimensional world into works have continued without distinguishing between the times and the media, and the purpose is to realize an immersive state rather than the reproduction of reality. It was considered that the flat screen, which is the medium that finally faces the viewer in digital media art, hinders complete immersion, and this study investigated and analyzed the cases of works that give a sense of reality of space beyond the limits of the screen. Using the results of the analysis to produce the work, it was found that the presentation of the realistic space and enhancing immersion in the digital media art field should be viewed not only as visual video content on the screen, but also as an installation suitable for the exhibition environment and the resulting space itself.

• Journal of Power System Engineering
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• v.19 no.1
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• pp.83-89
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• 2015

A ball strainer screen module, which is used for a condenser tube cleaning system, is a critical mechanical component for maintaining condenser cleanliness. Despite of this importance, not many research have been focused on this module because of its relatively low usage. Employing CFD, this study examines the implication of fluid velocity change and blockage ratio on the ball strainer screen velocity and the static pressure distribution. Through this study, the impact of blockage in the space between ball strainer screen modules is verified. Also, it is found that the ranges of non-dimensional velocity distribution and static pressure distribution decrease as blockage ratio becomes smaller.

• Proceedings of the Korea Information Processing Society Conference
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• 2008.05a
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• pp.481-484
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• 2008

In this paper, we present a new game interface design for First Person Shooters (FPS). Previously, FPS on computer is commonly played using keyboard/mouse or joystick along with PC display. We improve the communication environment between player and game world by means of new control system including large screen and laser gun, which create a real life-like space for players. Because traditional display for FPS uses CRT, it cannot support large screen display due to limitation of CRT technology. We designed and implemented a new input device using laser recognizable display. Results suggest that the combined interface creates a method which helps beginners to enjoy playing a FPS immediately and gives experienced players a new gaming experience.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.193-200
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• 2017

Computer technology pursuing more innovative image than before, makes some characteristics which distinguishes the digital fiction film from the analogue fiction film. One hand, the split screen in analogue film aides the development of drama in the aspect of narrative, on the other hand, it controls the psychology of spectator. The composite image in digital fiction film by computer graphic, and elaborated digital editing show many innovation in the field of audiovisual. In this context, I would like to remark on the digital film (2003) directed by Ang-Lee. In , the split screen and the composition of the fast transiition of shots in the scene of laboratory were created by computer graphic program for special effects. As visual special effect plays an important role in digital film, its narrative space creates a space which is distinguishable from that of analogue film.This can be an example which says a lot for the special aspect of digital narrative.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.33 no.8
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• pp.92-98
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• 2005

Screen can provide any disturbed resistance that affects the change in characteristics of turbulence, velocity and pressure distributions of the flow field, and thus it has been widely used to control the flow. Some previous related studies for compressible flows have limitations such as, considering relatively low-Mach-number flows in the range of 0.3 ∼ 0.7, and not observing the detailed shock structures of the flow fields. An experimental study on highly compressible axi-symmetric supersonic jet flow fields behind wire-gauze screen has thus been carried out. Continuous/instantaneous flow images by Schlieren flow- visualization technique and the information of Pitot pressure/flow-noise measurements of the flow field behind the screen for various jet expansion conditions have been obtained. Effects of various porosity and inclination angles of the screen at the nozzle exit have also been investigated, and the experimental results have been compared to the case with no screen installed.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.1
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• pp.126-139
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• 2023

At present, naked-eye 3D appears more and more commonly on the facades of urban buildings. It brings an incredible visual experience to the audience by simulating the natural 3D 3D space effect. At the same time, it also creates enormous commercial value for city publicity and commercial advertisements. There is much research on naked-eye 3D visual effects, but for right-angle LED screens. Right-angle LED screen's brand-new expression method that has only become popular in recent years, how to convey a realistic naked-eye 3D effect through two LED screens combined at right angles has become a problem worth exploring. To explore the whole design ideas and production process of the naked-eye 3D impact of the right-angle LED screen, this paper is a preliminary study aimed at understanding the performance principle and expression features. Before the case analysis, first, understand the standard virtual 3D space construction techniques. Combining it with the optical illusion phenomenon, according to the expression principle of the naked-eye 3D effect of the right-angle LED screen, it can be summarized into seven expressions: Shadow, Color contrast, Background structure line, Magnify object, Object out of bounds, Object floating, Fusion of picture and background. By analyzing the optical illusion phenomenon used in the case, we summarized the main performance characteristics of the naked eye 3D effect. The emergence of right-angle LED screens breaks the limitation of a single plane of optical illusion art, perfectly combines building facades with naked-eye 3D visual effects, and provides designers with a brand-new creative platform. Understanding its production principles and main expressive features can help designers enter this innovative platform better.