• The Journal of The Korea Institute of Intelligent Transport Systems
• /
• v.19 no.6
• /
• pp.118-133
• /
• 2020

Research interest in the Mobility-as-a-Service (MaaS) concept for enhancing users' mobility experience is increasing. In particular, dynamic pricing techniques based on reinforcement learning have emerged since adjusting prices based on the demand is expected to help mobility services, such as taxi and car-sharing services, to gain more profit. This paper provides a simulation framework that considers more practical factors, such as demand density per location, preferred prices, the distance between users and drivers, and distance to the destination that critically affect the probability of matching between the users and the mobility service providers (e.g., drivers). The aforementioned new practical features are reflected on a data structure referred to as the Matching Matrix. Using an efficient algorithm of computing the probability of matching between the users and drivers and given a set of precisely identified high-demand locations using HDBSCAN, this study developed a better reward function that can gear the reinforcement learning process towards finding more realistic dynamic pricing policies.

• International Journal of Highway Engineering
• /
• v.11 no.2
• /
• pp.195-203
• /
• 2009

This research wished to risk type and examine closely driver special quality and relation of traffic accidents by occurrence type of traffic accidents and traffic accidents seriousness examine closely relation with Severity. Fractionate traffic accidents type by eight, and driver's special quality for risk group's classification did to distinction of sex, vehicle type, age etc. analyzed relation with injury degree adding belt used putting on availability for security the objectivity with wave. Used log-Linear model and Logit model for analysis of category data. A head-on collision and overtaking accident, right-turn accident are high injury or death accident and possibility to associate in relation with accident type and seriousness degree. In risk group analysis The age less than 20 years in motor-cycle driver, taxi driver in 41 years to 50 years old are very dangerous. The woman also was construed to the more risk group than man from when related to car, mini-bus, goods vehicle etc. Therefore, traffic safety education and Enforcement for risk group that way that can reduce accident that produce to reduce a loss of lives at traffic accidents appearance a head-on collision and overtaking accidents, right-turn accidents should be studied and as traffic accidents weakness class may have to be solidified.

• The Journal of Asian Finance, Economics and Business
• /
• v.9 no.3
• /
• pp.159-169
• /
• 2022

This study investigates the job satisfaction of gig workers in Indonesia, particularly the online motorcycle taxi or ojek drivers, by looking at the influence of proactive behavior, self-efficacy, and job crafting as found in previous studies. Gig workers are classified as 'independent contractors' where some studies show that they achieve high job satisfaction through autonomy and flexibility. However, other studies show that all gig workers do not experience this condition. Location-based gig workers such as the online drivers are highly controlled by algorithm control and customer management, which makes their autonomy and flexibility questionable. The study is quantitative research by conducting a survey approach in seven main cities in Indonesia. Two hundred eighty online ojek drivers participated in this research by fulfilling questionnaires. The result shows that proactive behavior does not directly affect job satisfaction, but self-efficacy fully mediates the relationship. Job crafting has an insignificant influence on job satisfaction, and thus, this variable cannot mediate the relationship between job satisfaction and proactive behavior. The major finding of this study suggests that self-efficacy, which is their belief that they can overcome the challenges and achieve their goals, is very central to shaping job satisfaction of the online drivers.

• Science of Emotion and Sensibility
• /
• v.14 no.4
• /
• pp.571-580
• /
• 2011

The purpose of this study was to evaluate the effects of secondary task such as sending text message (STM) and searching navigation (SN) using the variable indicating control of vehicle ((Medial-Lateral Coefficient of Variation, MLCV), (Anterior-Posterior Coefficient of Variation, APCV)) and motion signal (Jerk-Cost function, JC). Participants included 50s taxi drivers; 14 males and 14 females. Participants were instructed to keep a certain distance (30m) from the car ahead with constant speed (80km/hr or 100km/hr). Experiement consisted of driving alone for 1minute and driving with secondary task for 1minute. Both MLCV and APCV were significantly increased during Driving + Sending Text Message(STM) and Driving + Searching Navigation(SN) than Driving only. Also, JC was increased during Driving + STM and Driving + SN than Driving only. In this study, we found that even in the experts group who are taxi driver and have 25 years driving experience, the smoothness of motion is decreased and the control of vehicle is disturbed when they were performing secondary tasks like sending text message or searching navigation.

• Cartoon and Animation Studies
• /
• s.50
• /
• pp.215-237
• /
• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.4
• /
• pp.187-198
• /
• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• Journal of Popular Narrative
• /
• v.25 no.4
• /
• pp.159-190
• /
• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.