• Journal of the Institute of Electronics Engineers of Korea CI
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• v.44 no.2 s.314
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• pp.37-46
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• 2007

In this paper, we propose technologies for enhancing the immersive realization of virtual objects in AR-based product design. Generally, multimodal senses such as visual/auditory/tactile feedback are well known as a method for enhancing the immersion in case of interaction with virtual objects. By adapting tangible objects we can provide touch sensation to users. A 3D model of the same scale overlays the whole area of the tangible object so the marker area is invisible. This contributes to enhancing immersion. Also, the hand occlusion problem when the virtual objects overlay the user's hands is partially solved, providing more immersive and natural images to users. Finally, multimodal feedback also creates better immersion. In our work, both vibrotactile feedback through page motors, pneumatic tactile feedback, and sound feedback are considered. In our scenario, a game-phone model is selected, by way of proposed augmented vibrotactile feedback, hands occlusion-reduced visual effects and sound feedback are provided to users. These proposed methodologies will contribute to a better immersive realization of the conventional AR system.

• Fashion & Textile Research Journal
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• v.22 no.3
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• pp.296-309
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• 2020

Carol Christian Poell is a designer famous for experimental designs and presentations. Poell's actions in the fashion-world resemble Fluxus, an anti-art group that started working in the 1950s. This study analyzed the works of Poell based on the characteristics of Fluxus and then compared the works of Poell with the performance of Nam June Paik, a Fluxus artist. We conducted literature studies and case studies. We examined the works of Poell and Paik based on the four characteristics of Fluxus: iconoclasm, unity of art and life, playfulness and chance. The results were as follows. First, they were engaged in anti-aesthetic works. While Paik concentrated on the content aspect of works, Poell was more focused on formal aspects. Second, neither of them distinguished between art and life. Paik achieved it by including audiences in his works; however, Poell attained it by adopting daily spaces as a place to display presentations and use ready-made forms. Third, they showed playfulness with a satirical nuance. Paik expressed it in an erotic way; however, Poell implied it through the irrational settings of circumstance. Finally, they created works by utilizing chance. Paik focused on auditory elements and the content aspects of works; however, Poell used the coincidence of visual and tactile elements when creating his works. This study compared the works of Poell with Paik and has its significance in its usefulness to understand designers with Fluxus characteristics in the fashion industry.

• Journal of Distribution Science
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• v.17 no.2
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• pp.101-107
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• 2019

Purpose - The purpose of this study is to analyze the user requirements and developer requirements in virtual reality(VR), and suggest ways to increase the satisfaction of users who experience virtual reality. Specifically, focused on experience store of VR as a distribution retailer, user requirements were analyzed according to the results of previous research that the characteristics of Affordance, Presence, and Head Mounted Display (HMD) affect user satisfaction. Research, design, data, and methodology - Based on previous studies, in this study, we analyzed the importance of immerse, interaction, perception, and presence for the satisfaction of the user through the questionnaire, and the user experiences virtual reality (VR) The importance of HMD, Presence, Affordance, and experience satisfaction were analyzed. Based on this, we analyzed the user requirements and the developer requirements based on the questionnaires and interviews of the experts, starting from the user's desire or preference using QFD technique. Results - As a result of the analysis, the development factors that occupied a big part in the virtual reality field appeared to be visual. In detail, this showed that there was a lack of sense of presence for users. This should be improved. This paper shows that the requirements for visual, auditory, and tactile development are necessary. For the satisfaction of the users of virtual reality (VR) users, it is necessary to develop them according to their priority in consideration of importance and difficulty in the future. Conclusions - In this study, it was suggested that development according to priority should be considered, considering the difficulty level. Based on the results of this study, the following suggestions are made. First, we tried to search the list of user requirements as much as possible, but it is likely to change due to the development of VR technology. Therefore, it is necessary for developers to continually supplement user requirements with recent research literature. Second, development priorities according to difficulty level should be considered. This aspect should be considered in the actual VR development process, so if the numerical value of the difficulty is calculated, it should be presented in the research.

• Journal of KIISE:Computing Practices and Letters
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• v.13 no.4
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• pp.226-230
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• 2007

In the conventional desktop PC environment, keyboard and mouse are used to process the user input and monitor displays the visual information as an output device. In order to manipulate the digital information, we move the virtual cursor to select the desired graphical icon on the monitor The cursor represents the relative motion of the physical mouse on the desk. This desktop metaphor does not provide intuitive interface through human sensation. In this paper, we introduce a novel tangible interface which allows the user to interact with computers using a physical tool called "Smartpuck". SmartPuck system bridges the gap between analog perception and response in human being and digital information on the computer. The system consists of table display based on a PDP, SmartPuck equipped with rotational part and button for the user's intuitive and tactile input, and a sensing system to track the position of SmartPuck. Finally, we will show examples working with the system.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.146-156
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• 2019

New media art moves out of place and time constraints, sublimates the benefits of technology into art, and presents a new way of communication with the audience. This paper analyses the tendency of nonverbal communication methods by analysing examples of facial expressions and sound used in new media art from early times. As a result, it can be seen that the digital paradigm in the new media art has a nonlinear thinking, which makes a perceptual reduction of immersion and dispersion. The facial expression in new media art made it possible not only to overcome the limit of space and time of various expressions through 'visual distortions, enlargement, and virtualisation', but also to enable new ways of communication to display facial parts combined or separated in the digital environment. The sound in new media art does not stay in auditory sense, but pursues multi-sensory and synesthesia by cooperating with visual and tactile, evolves by revealing characteristics of space expansion and sensibility and interaction of audience.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• The Korean Journal of Pain
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• v.22 no.1
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• pp.21-27
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• 2009

Background: The neuropathic pain arising from nerve injury is difficult to treat and the therapeutic effects of opioid drugs remain debatable. Agonists acting at the ${\alpha}_2$ adrenergic and opioid receptors have analgesic properties and they act synergistically when co-administered in the spinal cord. The lack of subtype-selective pharmacological agents has previously impeded the synergistic effects that are mediated by the adrenergic receptor subtypes. Methods: We created neuropathic pain model by ligating the L5 spinal nerve in Sprague-Dawley rats (n = 18). We divided the rats into three groups (n = 6 for each group), and we administered intraperitoneal morphine (1 mg/kg, 3 mg/kg, 5 mg/kg) and then we measured the mechanical allodynia with using von-Frey filaments for 8 hours. We then injected morphine (5 mg/kg) intraperitoneally, twice a day for 2 weeks. We measured the tactile and cold allodynia in the morphine group (n = 9) and the saline group (n = 9). After 2 weeks, we decapitated the rats and harvested the spinal cords at the level of lumbar enlargement. We compared the ${\alpha}_2$ subtype mRNA expression with that of control group (n = 6) by performing real time polymerase chain reaction (RTPCR). Results: Intraperitoneal morphine reduced the neuropathic pain behavior in the dose-dependent manner. Chronic morphine administration showed an antiallodynic effect on the neuropathic pain rat model. The rats did not display tolerance or hyperalgesia. The expression of the mRNAs of the ${\alpha}_{2A}$, ${\alpha}_{2B}$, ${\alpha}_{2C}$ subtypes decreased, and morphine attenuated this effect. But we could not get statistically proven results. Conclusions: Systemic administration of morphine can attenuate allodynia during both the short-term and long-term time course. Morphine has an influence on the expression of ${\alpha}_2$ receptor subtype mRNA. Yet we need more research to determine the precise effect of morphine on the ${\alpha}_2$ subtype gene expression.