• Journal of Astronomy and Space Sciences
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• v.21 no.3
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• pp.181-190
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• 2004

We use BV CCD images to study the dynamical substructure of the globular cluster M5. We investigate the radial variation of ellipticities and position angles using the stellar photometry and the IRAF ellipse task. We find that out to three times the half light radius $(r_h)$, the changes in ellipticities and position angles range in $0.05\~0.25$ and $75^{\circ}\~-75^{\circ}$, respectively. There are no significant discrepancy in the dynamical substructure beyond $r_h$ among the different giant populations. However, compared to the global dynamical substructure of M5, the inner $(<0.5r_h)$ substructure of the bright red giant and the horizontal branch populations show slightly different patterns. Especially, the discrepancy of the bright red giant population with respect to the global substructure, ranges up to 0.1 for the ellipticity and 1000 for the position angle.

• Journal of Korean Society of Rural Planning
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• v.22 no.3
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• pp.49-61
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• 2016

This study examined the effectiveness of and satisfaction of visitors with the Environmental Improvement Project on national parks' trail entry areas. A survey was conducted to improve the proposal framework based on the data. Data for the study were obtained from 6400 respondents who used 28 national park offices at 32 national park trail entry areas. The field research was collected in 3200 surveys, divided between pre- and post-implementation of the Environmental Improvement Project. The study variables consisted of socio-demographics, visitors' perceptions on the environmental improvement of trail entries, effects of the environmental improvement, and visitor satisfaction. Several important results were found. First, the environment of trail entries has a significant impact on the formation of images and user satisfaction of national parks. Second, the influence of the trail entry improvement showed that 71.8% of visitors rated the trail entry as environmentally friendly after the Environmental Improvement Project, compared to 48.5% of visitors rated the trail entry as environmentally friendly before the Environmental Improvement Project. The findings indicated that a top priority of environmental improvement of the trail entries needs to be the installation of convenience facilities such as rest areas, restrooms, and direction boards (pre: 34.5%, post: 32.6%). Third, functionality and the other nine variables were shown to enhance the effect of the environmental improvement of the trail entries at the 1% statistical significance level. Finally, results indicated that the overall satisfaction of the visitors with the park was significantly higher after the environmental improvement (t-value=25.741, p=.000), showing the satisfaction score was higher after the environmental improvement (pre: 3.51, post: 4.12), with a statistically significant difference at the 1 % level. This study helps to understand trail entries, which have influenced the image of the national park and satisfaction. These findings can be utilized to manage and design a national park as a public space.

• Journal of Korean Tunnelling and Underground Space Association
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• v.22 no.1
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• pp.135-144
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• 2020

Since the depth of tunneling with tunnel boring machine (TBM) becomes deeper and deeper, the expense for site investigation for coring and geophysical survey increases to obtain the sufficient accuracy. The tunnel ahead prediction methods have been introduced to overcome this limitation in the stage of site investigation. Probe drilling can obtain the core and borehole images from a borehole. However, the space in TBM for the probe drilling equipment is restricted and the core from probe drilling cannot reflect the whole tunnel face. Seismic methods such as tunnel seismic prediction (TSP) can forecast over 100 m ahead from the tunnel face though the signal is usually generated using the explosive which can affect the stability of segments and backfill grout. Electromagnetic methods such as tunnel electrical resistivity prospecting system (TEPS) offer the exact prediction for a conductive zone such as water-bearing zone. However, the number of electrodes installed for exploration is limited in small diameter TBM and finally the reduction of prediction ranges. In this study, the theoretical equations for the electrical resistivity survey whose electrodes are installed in the face and side of TBM to minimize the installed electrodes on face. The experimental tests were conducted to verify the derived equations.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Journal of Astronomy and Space Sciences
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• v.17 no.1
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• pp.53-66
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• 2000

We developed low light CCD imaging system using thermoelectric cooling method collaboration with a company to design a commercial model. It consists of Kodak KAF-0401E(768$\times$512 pixels) CCD chip, thermoelectric module manufactured by Thermotek. This TEC system can reach an operative temperature of $-25^{\circ}C$. We employed an Uniblitz VS25s shutter and it has capability a minimum exposure time 80ms. The system components are an interface card using a Korea Astronomy Observatory (hereafter KAO) ISA bus controller, image acquisition with AD9816 chip, that is 12bit video processor. The performance test with this imaging system showed good operation within the initial specification of our design. It shows a dark current less than 0.4e-/pixel/sec at a temperature of $-10^{\circ}C$, a linearity 99.9$\pm$0.1%, gain 4.24e-/adu, and system noise is 25.3e-(rms). For low temperature CCD operation, we designed a TEC, which uses a one-stage peltier module and forced air heat exchanger. This TEC imaging system enables accurate photometry($\pm$0.01mag) even though the CCD is not at 'conventional' cryogenic temperatures(140k). The system can be a useful instrument for any other imaging applications. Finally, with this system, we obtained several images of astronomical objects for system performance tests.

• Publications of The Korean Astronomical Society
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• v.30 no.3
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• pp.821-832
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• 2015

As a part of the short-period variability survey (SPVS) at Bohyunsan Optical Astronomy Observatory, we obtained time-series BV CCD images in the region of the open cluster NGC 1039 (M34). The observations were performed for 22 nights from July 29, 2008 to September 26, 2010. We also made LOAO observations for 10 days from September 18, 2009 to October 30, 2010 to confirm the small variabilties of ${\delta}$ Scuti-type variable stars. In this paper we presented the observational properties of 28 variable stars found in the region. They are seven ${\delta}$ Scuti-type variable stars, two ${\gamma}$ Doradus-type variable stars, four-teen eclipsing binary stars and five semi-long periodic or slow irregular variables, respectively. Only three variables were listed in the GCVS and the rest are newly discovered ones. We have performed multiple-frequency analysis to determine pulsation frequencies of the ${\delta}$ Scuti-type and ${\gamma}$ Doradus-type variable stars, using the discrete Fourier transform and linear least-square fitting methods. We also have derived the periods and amplitudes of 12 eclipsing binaries from the phase fitting method, and presented the light curves of all variable stars.

• Journal of the HCI Society of Korea
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• v.12 no.1
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• pp.5-13
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• 2017

Interactive intervention of the human presenter is one of the important factors that make the visualization more effective. Rather than just showing the content, the presenter enhances the process of the information delivery by providing the context of visualization. In this paper, we define this as an augmented presentation. In augmented presentation concept, the presenter can facilitate presentation more actively by being fully immersed in the visualization space and reaching and interacting into digital information. In order to concrete the concept, we design presentation space that enables the presenter to be seamlessly immersed in the visualization. Also we increase the presenter's roles as a storyteller, controller and augmenter allowing the presenter to fully support communicative process between the audience and the visualization. Then, we present an augmented presentation system to verify the proposed concept. We rendered 3D visualization through a half-mirror film and a wall projection screen that are place in parallel and applied with stereoscopic images, then, spatially align the presenter inside the virtual visualization space. After that, we conduct a controlled experiment to investigate the subjective level of immersion and engagement of the audience to HoloStation compared to traditional presentation system. Our initial investigation suggests that the newly conceived augmented presentation has potential not only to enhance the information presentation but also to supports the delivery of visualization.

• Journal of Dental Rehabilitation and Applied Science
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• v.24 no.2
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• pp.203-211
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• 2008

Minimizing damage to anatomical structure is a prerequisite for skeletal anchorage system to install a miniscrew. This research has focused on evaluating the stability and safety of installation in the maxillary molar buccal area, in which most miniscrews are installed clinically and initial fixation is weak. CT (computerized tomography)images were taken for surveying the possibility of damaging to adjucent teeth in accordance with installation angle. If we install a mini-screw($1.2{\times}6.0mm$) in the maxillary molar buccal area, it would be located generally in the 5~8mm upper of CEJ and 3~5mm inner of the cortical bone surface. We has measured the space between roots And comparison has been made for gender and the space between roots in accordance with the 3 different angles of installation(30 degree, 40 degree, 60 degree) in 3 categories. Category 1 : between 1st molar and 2nd molar Category 2 : between 1st molar and 2nd premolar Category 3 : between 1st premolar and 2nd premolar The result are as follow; 1. The space for category 1 was significantly small. 2. For the installation angle, it was safer to install with steeper angle in category 1 and category 2, but not in category 3. According to these results, the installation a miniscrew in category 2, 3 is safer than in category 1. And it is safer to install with steeper angle in category 1 and category 2.

• Journal of Korea Game Society
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• v.7 no.1
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• pp.31-42
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• 2007

In the natural world, most materials such as skin, marble and cloth are translucent. Their appearance is smooth and soft compared with metals or mirrors. In this paper, we propose a new GPU based hierarchical rendering technique for translucent materials, based on the dipole diffusion approximation, at interactive rates. Information of incident light, position, normal, and irradiance, on the surfaces are stored into 2D textures by rendering from a primary light view. Huge numbers of pixel photons are clustered into quad-tree image pyramids. Each pixel, we select clusters (sets of photons), and then we approximate multiple subsurface scattering term with the clusters. We also introduce a novel hierarchical screen-space interpolation technique by exploiting spatial coherence with early-z culling on the GPU. We also build image pyramids of the screen using mipmap and pixel shader. Each pixel of the pyramids is stores position, normal and spatial similarity of children pixels. If a pixel's the similarity is high, we render the pixel and interpolate the pixel to multiple pixels. Result images show that our method can interactively render deformable translucent objects by approximating hundreds of thousand photons with only hundreds clusters without any preprocessing. We use an image-space approach for entire process on the GPU, thus our method is less dependent to scene complexity.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.