• Archives of design research
• /
• v.14 no.2
• /
• pp.67-76
• /
• 2001

Children's Picture Book is the literature with which children face for the first time as a form of close harmony between text and picture. The picture book shows what is happening and also what may happen mn the children's surroundings and takes great Influence on their creativity, thinking ability, emotion, and Intellectual ability by delivering affluent story through the pictures. The color expressed in the children's picture book is as much important as other formative elements such as shape and texture, and the expression of color on the basis of color emotion is much more Important In that It appeals to the children's feeling. The color which is expressed through the illustration of children's picture book conveys distinctly the motion and feeling of characters who are expressed un the picture book as well as distinction of theme and background and expresses persuasively the whole process of plot and atmosphere so that it might convey various emotions such as delight, sorrow, pleasure, wonder, and fear to children. This thesis alms at analyzing various effects of color contrast, process of color, hue variation, and use of color according to the atmosphere of each cut and the process of plot by selecting the children's picture books which were published abroad and home on the basis of color concept, emotion, and image association which children feel In order to Investigate and analyze the symbolism of color and emotional effect expressed through the illustration of children's picture book, and presenting a direction of color use to produce high-level children's picture book with illustrators individuality and artistry.

• Journal of Physiology & Pathology in Korean Medicine
• /
• v.16 no.4
• /
• pp.630-636
• /
• 2002

After The Yellow Emperor's Canon of Internal Medicine, The text researches of pathologic change to the liver disease concluded the next, 1, The category of liver-disease(肝病) include the Symptoms of abnormality due to vital energy and blood motion, emotion and intention, muscular and reproductive function, and legions around descending liver channel. 2. In the theory that Liver-Yang energy(肝陽氣) is always overproducing, Liver-Yin blood(肝陰血) is always lacking, pathologic characteristics for liver disease is functional change of malfunction of the use of body(體用失調), So nourishing the liver and kidney is used for the principal aspects of a disease. regulating and calm the liver is used for the secondary aspects of a disease as the treatment plan, 3. If malfunctioning of the functions of dispersion and discharge(疏泄), Iiver-energy(肝氣) is becoming degected, So overproduct and overflow of ascent and exhalation of liver-yang(肝陽) is becoming blood are ascending following energy. complete usage of Yin-blood(陰血) is responsible for some kinds of mass formed by blood stasis in the early stage of pathogenesis of liver disease syndrome of the energy system as the progession of disease extravasated blood is forming. the pathologic characteristics is appeared loss of control of the vital energy and blood(體用失調) at the liver disease. 4. Sthenia-syndrome of liver(肝實證) and liver-heat syndrome(肝熱證) is appered that overproducing and overflow of dispersion(疏泄太過) and discharge is responsible for overfunctioning of liver disease or some kinds of heat syndrome such as liver fire(肝火), Sthenia of liver-yang(肝陽上亢), the syndromes of sthenic liver heat(肝實熱) are appered. deficiency of the liver(肝虛證) and cold syndrome of liver(肝寒證) is classified pathologic characteristics of cold and heat, deficiency and excess that regression of sensory, motor, mental due to lack of dispersion and discharge(疏泄不及), or intruding of the cold miasma, are degected. 5. The liver is close relation of physiologic function and internal organ such as spleen, stomach, lung, heart, kidney, gall bladder by the meridian channels, because of property of wind Zang, rapid progession is classified by phthologic charateristics.

• 재활복지
• /
• v.22 no.3
• /
• pp.225-257
• /
• 2018

The purpose of this study is to find the application point of hearing augmentation technology development through examining the risk context experience of people with hearing impairment and the use of assistive device used as an alternative technology. Data of 355 people with hearing impairment with official disability grading was analyzed. The results of this study are first, research participants had no experience of recognizing any sound or vibration in situations highest in the order of means of transportation, material, and nature. Especially the ratio of being unable to recognize the sound and vibration of means of transportation was high, which implies the high possibility of people with hearing impairment experiencing risk. Secondly, the risk context that people with hearing impairment will most likely to experience are highest in the order of traffic accident, pedestrian accident, and daily life at home. Thirdly, the recognition of 2G phone/smart phone, vibrating digital alarm clock, light bar, vibrating wrist watch as assistive device for risk context awareness and notification was high and the satisfaction level of 2G phone/smart phone was the highest. Fourthly, the research participants had high recognition of assistive device for communication in the order of hearing aid, smart phone, videophone, cochlear implant and 2G phone and it was found that the satisfaction level and communication improvement level was the highest using the smart phone. Lastly, for the development of hearing augmentation technology the research participants recognized the importance of portable/wear convenience, price, and motion accuracy and for notification delivery means they preferred the method of using sight(text and light). Based on the results of this study policy and practical plans for hearing augmentation technology development for people with hearing impairment in risk context are proposed.

• Smart Media Journal
• /
• v.13 no.4
• /
• pp.94-103
• /
• 2024

The eyeball input system is a text input system designed based on 'eye tracking technology' and 'virtual keyboard character-input technology'. The current virtual keyboard structure used is a rectangular QWERTY array optimized for a multi-input method that simultaneously utilizes all 10 fingers on both hands. However, since 'eye-tracking technology' is a single-input method that relies solely on eye movement, requiring only one focal point for input, problems arise when used in conjunction with a rectangular virtual keyboard structure designed for multi-input method. To solve this problem, first of all, previous studies on the shape, type, and movement of muscles connected to the eyeball were investigated. Through the investigation, it was identified that the principle of eye movement occurs in a circle rather than in a straight line. This study, therefore, proposes a new key arrangement wherein the keys are arranged in a circular structure suitable for rotational motion rather than the key arrangement of the current virtual keyboard which is arranged in a rectangular structure and optimized for both-hand input. In addition, compared to the existing rectangular key arrangement, a performance verification experiment was conducted on the circular key arrangement, and through the experiment, it was confirmed that the circular arrangement would be a good replacement for the rectangular arrangement for the virtual keyboard.

• Archives of design research
• /
• v.19 no.6 s.68
• /
• pp.27-32
• /
• 2006

TYME is an interactive typography program based on the ephemeral nature of time. It is a text based poetic tool, built with Processing. This project is presented as a performance that utilizes a computer with a display screen, a projector, and speakers. As the user types, white characters appear, flow on the score on the screen and trigger jazz sounds, then characters disappear into black space in several seconds on the screen like smoke. Typography from this invented instrument is evocative and wistful, and allows the user to associate with ephemeral time. While typing the characters as though playing an instrument at intervals of time, the user can freeze the motion and print out or save otherwise fleeting moment with a button. I intend to contain both characteristics: the amorphous shape of smoke and the elusive attribute of smoke for the expression of intangible and ephemeral time. Every alphabetic shape is derived from the video dips that I shot of smoke. The resulting alphabetic images are then programmed using the Processing scripting language and which can then be typed on the screen with a keyboard. TYME could be a model as a project that reflects the unfixed quality of digital typography, and as a design approach for interactive expressive typography by scripting code. This project also represents the characteristics of typographic play, which can be realized in an computational environment like this model.

• Journal of Broadcast Engineering
• /
• v.16 no.1
• /
• pp.23-32
• /
• 2011

Design and Implementation of Clipcast Service via Terrestrial DMB This paper outlines the system design and the implementation process of clipcast service that can send clips of video, mp3, text, images, etc. to terrestrial DMB terminals. To provide clipcast service in terrestrial DMB, a separate data channel needs to be allocated and this requires changes in the existing bandwidth allocation. Clipcast contents can be sent after midnight at around 3 to 4 AM, when terrestrial DMB viewship is low. If the video service bit rate is lowered to 352 Kbps and the TPEG service band is fully used, then 320 Kbps bit rate can be allocated to clipcast. To enable clipcast service, the terminals' DMB program must be executed, and this can be done through SMS and EPG. Clipcast service applies MOT protocol to transmit multimedia objects, and transmits twice in carousel format for stable transmission of files. Therefore, 72Mbyte data can be transmitted in one hour, which corresponds to about 20 minutes of full motion video service at 500Kbps data rate. When running the clip transmitted through terrestrial DMB data channel, information regarding the length of each clip is received through communication with the CMS(Content Management Server), then error-free files are displayed. The clips can be provided to the users as preview contents of the complete VOD contents. In order to use the complete content, the user needs to access the URL allocated for that specific content and download the content by completing a billing process. This paper suggests the design and implementation of terrestrial DMB system to provide clipcast service, which enables file download services as provided in MediaFLO, DVB-H, and the other mobile broadcasting systems. Unlike the other mobile broadcasting systems, the proposed system applies more reliable SMS method to activate the DMB terminals for highly stable clipcast service. This allows hybrid, i.e, both SMS and EPG activations of terminals for clipcast services.

• Trans-
• /
• v.15
• /
• pp.25-56
• /
• 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.

• Cartoon and Animation Studies
• /
• s.41
• /
• pp.511-531
• /
• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.