• Cartoon and Animation Studies
• /
• s.19
• /
• pp.161-181
• /
• 2010

Human beings experience the outside world through senses and have developed various ways of representation to preserve what they've experienced. The rapid progress of digital technology has opened a new era of representation technology, and furthermore, is functioning as a technology which offers new experiences. The sensory experiences through the sense of sight, which humans depend on more than 70% to perceive the outside world, have been becoming the center of representing the reality as the 3-D graphics technology has been growing, and developing by being grafted onto different areas of study. Various technologies to express the sense of reality, such as the technology to reinforce the virtual reality and to represent it in the reality, computer graphic, TUI technology, and five sensory technologies which apply humans' senses, are making advancement based on humans' visual features and sensory elements. In particular, the 3-D technology to display solidness provides not only representation but also new sensory experiences, and is emerging as the key technology to image contents. However, compared to the development of technology of 3-D graphics, there have been few basic studies on the principles of the sense of vision. Therefore, in this study, the principles and elements to sense videos will be examined. The sensory features of 3-D images to represent the sense of reality will be researched into, especially focusing on the experiential and physiological elements to sense 3-D structures, and the physical and psychological elements to sense shapes, which might be hopefully the basic study for producing 3-D contents.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.81-104
• /
• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Journal of Korea Multimedia Society
• /
• v.21 no.8
• /
• pp.991-1001
• /
• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• Industrial Engineering and Management Systems
• /
• v.12 no.3
• /
• pp.181-189
• /
• 2013

This paper proposes a two-phase genetic algorithm (GA) to solve the problem of obtaining an optimum configuration of a paired single row assembly line. We pair two single-row assembly lines due to the shared usage of several workstations, thus obtaining an optimum configuration by considering the material flow of the two rows simultaneously. The problem deals with assigning workstations to a sequence and selecting the best arrangement by looking at the length and width for each workstation. This can be considered as an enhancement of the single row facility layout problem (SRFLP), or the so-called paired SRFLP (PSRFLP). The objective of this PSRFLP is to find an optimal configuration that seeks to minimize the distance traveled by the material handler and even the use of the material handler itself if this is possible. Real-world applications of such a problem can be found for apparel, shoe, and other manual assembly lines. This research produces the schematic representation solution using the heuristic approach. The crossover and mutation will be utilized using the schematic representation solution to obtain the neighborhood solutions. The first phase of the GA result is recorded to get the best pair. Based on these best matched pairs, the second-phase GA can commence.

• Korean Institute of Interior Design Journal
• /
• v.14 no.5 s.52
• /
• pp.106-113
• /
• 2005

New images percolate through human consciousness by the media such as movies, TV programs, and brilliant advertisements. These images reproduce new ' things ' throughout the ' semantic processes ' by those who experience and recognize them. Alvin Toffler describes it as the ' information bomb ' and ' image fragments ' in his talk about the new paradigm of information-oriented era. The increasing number of images and their accelerating rate of appearance imply that images become more momentary, and are evidence that they are transforming entire human life and consciousness. Such awareness means a lot to a designer. Especially, the subject that how modern space-dominating images are related to the structure and materials constituting the space and communicate with human mind will be an important factor in establishing the human-space relationship in the future. Furthermore, the present age overspread with various medium is not the only one privileged of the images that exist within space. They are the results of continuous expansion of existing images, and also process of evolution of space powered by the fusion of images and digital media. Imagified space is a boundary layer of Cyberspace, and the space itself becomes an interface by human recognition and participation. Now, the functional classification of spaces such as ' office, ' ' cafe, ' and ' school ' is meaningless. Whatever it may be, the function of a space is defined by the information it interfaces, and therefore it becomes an interface to information through a large number of images. Based on this idea, we will observe the imagificaiton of space in the form of discussion, and from that, try to understand the phenomenon through the real world examples.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2009.05a
• /
• pp.653-656
• /
• 2009

Currently with development of development and the hardware of the superhigh speed network about increase is spreading out at the rapid pace the many multimedia contents quite from internet. The production environment is growing about the multimedia contents because of such as circumstance, as well as multimedia contents will increase. However, Numerous voice, the picture, with text etc. the time of the same multimedia contents and problem of spatial synchronization occur, started. W3C(World Wide Web Consortium) solves like this problem point presented the method for. Does so, SMIL(Synchronized Multimedia Integration Language) where puts a base in XML(Extensible Markup Language) will be able to compose the expression of the multimedia contents which is various standard was proposed. SMIL the individual multimedia object of chain with time will be able to integrate with the multimedia presentation which is synchronized spatial in order. In this paper a variety of multimedia content and synchronization of the time and space, to be represented by integrating the design and implementation of SMIL authoring system.

• Asia Marketing Journal
• /
• v.15 no.2
• /
• pp.117-132
• /
• 2013

Recent developments in embodied cognition suggest that people process environmental information by using their bodily state and mental simulation. The focus of embodiment theory is that cognitive processing is based on the interaction among the body, the mind, and the world. Based on embodied theories of cognition, the authors predict that when the representation of marathon running is activated, bodily feedback such as tiredness and thirst will occur because mental simulation of marathon running contains sensorimotor representation of marathon running. As a result, it is predicted that participants primed with marathon runner will have more desire to have products that enable thirsty-quenching. Specifically, this research proposes that consumers' tendency to adopt the perspective of others influences embodied cognition, since perspective taking leads people to assimilate their own self-judgments and behaviors toward the cognitive representations of others. An experiment reveals that both perceptual and cognitive perspective taking tendencies moderate how participants respond to the contextual cues. The effect of perspective taking is moderated by whether participants are prompted to adopt a first-person view or a third-person view. In detail, among the high perspective takers, those in the marathon-first-person condition drink more the mineral water than those in the marathon-third-person condition, who in turn drink more the mineral water than those in the control condition. Among the low perceptual perspective takers, however, there are no significant differences in the amount of mineral water intake. This research delivers important insights for advertising messages. When being exposed to an advertisement, high perspective taking consumers may be more engaged in the advertised message than low perspective taking consumers, which in turn high (vs. low) perspective taking consumers' tendency to respond behaviorally consistent with the message may be higher. Based on the findings of this research, if the message induces the high perspective taking consumers to have a first- (vs. third-) person view, this effect may be stronger. Moreover, if the advertising message contains behaviors, such as using the target product, inducing consumers to mimic the behaviors seems to bring more behavioral responses which marketers intend.

• 한국정보디스플레이학회:학술대회논문집
• /
• 2008.10a
• /
• pp.4-4
• /
• 2008

The progress in flat panel displays over the last two decades has been astonishing. In just 20 years, the LCD-TV grew up from a 2-inch curiosity, to an industry that will sell about 120 million flat panel TV's this year, with viewing area up to 4000 times larger. That success is based on continuous innovation, especially in manufacturing processes. For the next decade to bring another doubling of the business, progress will need to continue in four major areas: Human factors, ecological impact, visual quality, and of course continued drive towards affordability. This talk will detail the technology advances that can allow this industry to meet those challenges. Human factors. Today, we adapt our lifestyle to our technology. People organize their offices, and their homes, around displays. We pass around mobile phones to share images, rather than experiencing them as a group. Billions of newspapers continue to be sold daily. Advances in flexible displays can lead to large portable displays. "New era projection" includes the handheld Pico Projectors that are already on the market, and will ultimately appear integrated in mobile phones the same way cameras do today. "Eco" impact. Today TV's are one of the top energy consumers in a U.S. home, and the fastest growing. Watching a large flat panel TV can cost twice as much as running a large refrigerator. With today's concern about energy consumption, regulations are starting to emerge worldwide to limit TV electrical use. Fortunately, good solutions exist in using light management films to eliminate bulbs, saving power without increasing cost. Going forward, LED backlights will drive another step downward. OLED displays might be the ultimate solution. Visual quality. The color of an LCD-TV is still often considered inferior to a far less expensive CRT. And almost all displays suffer from representing a three-dimensional world on a two dimensional surface. The technology to improve color is available today, and will likely move from premium sets into the mainstream as costs come down. 3D is now arriving in movie theaters worldwide, and that will drive up the demand for similar realistic images in home theaters. And the technology is emerging today for 3D representation to move beyond specialized applications into everyday use, on screens large and small. Affordability. The world takes cost-down miracles for granted in consumer electronics. Each of these other advances will be balanced with a drive for affordability, especially as the market grows in emerging countries. The other three challenges must be met without increasing cost. Putting this all together, the next few years will emphasize "eco friendly" designs, and enhanced images such as 3D. By 2013 we will start to see serious penetration by emissive technologies (OLED, high efficiency plasma, or other), with the "ultimate display" likely not in the market for a decade. Lots of opportunities for innovation remain ahead of us.

• Journal of Fashion Business
• /
• v.14 no.1
• /
• pp.116-131
• /
• 2010

As our world is becoming more and more globalized, nations tend to turn their interests towards their unique legacy and traditional culture. This research is intended to re-illuminate the Korean beauty through the Lotus Pattern, a traditional factor, from the Chosun Dynasty, and at the same time, analyze how its peculiar representation and figural elements can be reflected in modern fashion designs. The results will be an essential factor in creating exclusive and original designs. Research method was theoretical research from documents and to refer to positive data on preserved relics, and research contents consists of analysis on the use of lotus patterns in artworks that were exhibited during 2000 to 2008 by Korean and foreign artists. Results showed that lotus patterns that were used during the Chosun Dynasty are categorized by shape, composition form, and structural form. Applying these results, a total of 8 works were designed and created.

• Korean Institute of Interior Design Journal
• /
• v.16 no.6
• /
• pp.56-64
• /
• 2007

This study is purposed to explicate the idea of 'the general design' for the construction of the construction of space of $L\'{a}szl\'{o}$ Moholy-Nagy who has stood against the traditional value system and made an attempt to create a new space-form language. On the basis of unification of perception and reality Moholy-Nagy intended to regenerate the essential aspects of life through an art by bestowing art with an aesthetic foundation and also expanding the art world into the living area. 'The Allgemeine Elementenlehre(the general theory of elements)' of Moholy-Nagy that is distanced from the visual perception as the dominant sense which is based on the principle of representation and imitation, and emphasized on the complicated relationship between the various senses including the tactile sense, offers a pedagogical basis for the space design that is indispensable for the plastic thinking and practice. At the same time it indicates an access route to the primary nature through the spatial construction of the prime elements of nature and man To explicate his idea toward the general theory of design of space, it will be tried first of all to clarify the core points of the empirio-criticism and the constructivism as the theoretical backgrounds of Moholy-Nagy. And then on the basis of these theoretical backgrounds will be analyzed the system and the contents of 'the allgemeine Elementenlehre' as the general space design theory and also the general space design pedagogy.