• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• 한국노년학
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• v.29 no.4
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• pp.1361-1381
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• 2009

There have lately been a variety of social issues in our society due to rapid social changes. Specifically, how to approach elderly people who suffer from dementia is never an easy task, and few in-depth studies have ever focused on their quality of life due to that. The purpose of this study was to examine the quality of life of elderly people with dementia and the relationship between their quality of life and the environments of facilities for them in an attempt to lay the foundation for the development of compatible programs tailored to the environments of the facilities and for relevant policy setting. It's ultimately meant to improve the quality of life of the elderly with dementia and the environments of facilities for them. The subjects in this study were elderly people with dementia who were housed in senior residential and medical welfare facilities in Daegu and Gyeongsangbukdo. The collected data were analyzed with a SPSS 12.0 program, and frequency analysis, cross-tabs and multiple logistic regression analysis were utilized. As a result, facility environments were identified as one of the variables that had a significant impact on the quality of life of the elderly people with dementia. There are some suggestions about how to boost their quality of life: First, good environments should be prepared in consideration of the characteristics of elderly people with dementia in order for themto be satisfied with their own quality of life, and the way of looking at their potentials should be changed. Second, it's found that main caregivers affected the quality of life of the elderly people with dementia, and the kind of programs that focus on the improvement of the relationship between elderly people with dementia and their main caregivers is required. Third, there should be a change in the environments of the facilities. The facilities should be well equipped to successfully respond to the symptoms of elderly people with dementia. To redress their poor accessibility to the facilities, infrastructure involving nursing homes and professional personnels should be built by utilizing the Internet, and the facilities and local community should make concerted efforts to provide quality care to elderly people in want of it.

• Clean Technology
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• v.29 no.4
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• pp.255-261
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• 2023

Power semiconductors are semiconductors used for power conversion, transformation, distribution, and control. Recently, the global demand for high-voltage power semiconductors is increasing across various industrial fields, and optimization research on high-voltage IGBT components is urgently needed in these industries. For high-voltage IGBT development, setting the resistance value of the wafer and optimizing key unit processes are major variables in the electrical characteristics of the finished chip. Furthermore, the securing process and optimization of the technology to support high breakdown voltage is also important. Etching is a process of transferring the pattern of the mask circuit in the photolithography process to the wafer and removing unnecessary parts at the bottom of the photoresist film. Ion implantation is a process of injecting impurities along with thermal diffusion technology into the wafer substrate during the semiconductor manufacturing process. This process helps achieve a certain conductivity. In this study, dry etching and wet etching were controlled during field ring etching, which is an important process for forming a ring structure that supports the 3.3 kV breakdown voltage of IGBT, in order to analyze four conditions and form a stable body junction depth to secure the breakdown voltage. The field ring ion implantation process was optimized based on the TEG design by dividing it into four conditions. The wet etching 1-step method was advantageous in terms of process and work efficiency, and the ring pattern ion implantation conditions showed a doping concentration of 9.0E13 and an energy of 120 keV. The p-ion implantation conditions were optimized at a doping concentration of 6.5E13 and an energy of 80 keV, and the p+ ion implantation conditions were optimized at a doping concentration of 3.0E15 and an energy of 160 keV.

• Economic and Environmental Geology
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• v.57 no.2
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• pp.143-159
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• 2024

Natural aggregate is an essential resource for human activities, closely related to construction. The aggregate demand has been increasing annually, and due to the nature of the resource, it is difficult to procure from distant locations. This study identifies the distribution and characteristics of aggregate-bearing areas as part of a municipal-level aggregate resource survey conducted in Nonsan City, Korea, in 2023. Nonsan City is located approximately 35 km straight distance from the Geum River estuary and lies at the passageway of the main stream of the Geum River. The topography of Nonsan City features eastern mountainous areas and western plains, creating an east-high-west-low geomorphic setting, with 33 streams distributed across the city, including tributaries of the Geum River like Nonsan Stream, Noseong Stream, and Ganggyeong Stream. All streams originate from the highlands in the north and east, converge with Nonsan Stream, and then join the west bank of the main stream of the Geum River at the western boundary of Nonsan City. Drilling core results show shallow depths in the highlands to the north and east, deepening towards the west, reaching a maximum depth of 25 m near the main stream of the Geum River. The total reserve of land aggregates is calculated to be 246,789,000 m³, with a developable amount of 172,750,000 m³. The total reserve of river aggregates is 5,236,000 m³, with a developable amount of 3,765,000 m³. The distribution of aggregates varies according to the geomorphic, geologic, and development pattern of the river system. Reserves are scarce in mountainous areas but are abundant in regions with rivers and wide alluvial plains, although reserves appear at depths greater than 4m. The distribution of aggregate resources in Nonsan City is influenced by stream activities and sea level changes, with the tidal range of the Yellow Sea acting as an unfavorable condition for the preservation of aggregate resources.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.