• Journal of Korea Game Society
• /
• v.4 no.3
• /
• pp.29-42
• /
• 2004

With the development of hardware and 3D graphic technologies since the 1990s, video games have been evolving in the direction in which they wholly pursue illusions and movie formats, and thus they are considered to be media centered on spectacles. However, video games, due to their inherent characteristics, cannot be transparent media like the existing spectacular entertainments centering on optical illusions. In their structure, there can be found elements that continually disillusion players from visions. Strictly speaking, players are not lost in visions, but are kept a certain distance from internal contexts. Games rely not on illusion but on contracts with players which are similar to a kind of convention, clearing internal imperfections. This paper aims to identify and analyze disillusioning elements and discuss theatrical contacts between players and games. The purpose of this paper is to reconsider the awareness of video games as a spectacle entertainment and to help discover future directions for game culture.

• Journal of the Korea Convergence Society
• /
• v.9 no.7
• /
• pp.185-191
• /
• 2018

The digital technologies brought a structural transformation to cinema, have lead a change in the way of existence of an assembly of images called cinema, and have shared expression methods with new-media. To look into how in terms of cinema style of the film era and the digital era are different, this article will focus on the matter of 'indexicality.' From the point of view of perceptive realism the discourses on digital image deconstruct the dichotomy between illusionism and classical realism. Therefore the actuality of an image does not depend on only indexicality but has much to do with how the viewers fundamentally perceive the image. In this age of digital cinema it does not matter to distinct a composite-image from a reality-image. This article inquires the relation of indexicality, the world and digital images in digital cinema on the level of reception, and reconsider in terms of image production.

• Journal of Digital Contents Society
• /
• v.18 no.5
• /
• pp.803-810
• /
• 2017

Currently, every person possesses a smart phone due to the development of the IT industry. There is an improper situation in which a smart phone is not set in silent mode, such as a lecture room, a library, and a theatre hall. The proposed system automatically automates the function of smart phones where they are designated as a public place or etiquette area and automatically return the function of the smartphone if they deviate from the location of the site. It is also equipped with a combination of autonomous devices and services, based on Bluetooth communications, which are applied to ultra-light low-power IoT(Internet of Things) devices, and has features that allow diverse types of features and services to be added without requiring deformation of the hardware.

• Journal of the Korea Society of Computer and Information
• /
• v.28 no.3
• /
• pp.149-157
• /
• 2023

The purpose of this study is to suggest that performers in the performing arts actively utilize the loading dock and stage door when evacuating from the stage space of a performance hall in a crisis situation. Therefore, first, we analyzed the system related to the performance hall's safety. The stage evacuation type was classified into A, B, C, and D forms by applying the building law audience evacuation standards. Second, statistical data were organized based on measurement data, and the characteristics of each form were summarized. Third, the network reliability measurement method was borrowed to evaluate the evacuation safety of the evacuation route in the stage space. We confirmed quantitatively that the direction of the loading dock direction and stage door direction on the stage is advantageous for evacuation. In this study, it was possible to distinguish the advantage of evacuation according to the type of evacuation, (A(0.1274)>B(0.1228).>.C(0.0487)) with A being the most advantageous. These results can be expected to improve the evacuation safety of the stage, and furthermore, they are expected to be used as basic data for stage evacuation.

• Journal of Dental Anesthesia and Pain Medicine
• /
• v.24 no.1
• /
• pp.67-73
• /
• 2024

Background: Nitrous oxide has been an integral part of surgical anesthesia for many years in the developed world and is still used in developing countries such as India. The other main concerns in low-resource countries are the lack of an advanced anesthesia gas-scavenging system and modular surgical theatres. As a greenhouse gas that has been present in the atmosphere for more than 100 years and damages the ozone layer, nitrous oxide is three times worse than sevoflurane. Here, we conducted an observational study to quantify the annual nitrous oxide consumption and its environmental impact in terms of carbon dioxide equivalence in one of busiest tertiary health care and research centers in Northern India. Methods: Data related to nitrous oxide expenditure' from the operation theatre and manifold complex of our tertiary care hospital and research center from 2018 to 2021 were collected monthly and analyzed. The outcomes were extracted from our observational study, which was approved by our institutional ethics board (INT/IEC/2017/1372 Dated 25.11.2017) and registered prospectively under the Central Registry (CTRI/2018/07/014745 Dated 05.07.2018). Results: The annual nitrous oxide consumption in our tertiary care hospital was 22,081.00, 22,904.00, 17,456.00, and 18,392.00 m³ (cubic meters) in 2018, 2019, 2020, and 2021, respectively. This indicates that the environmental impact of nitrous oxide (in terms of CO₂ equivalents) from our hospital in 2018, 2019, 2020, and 2021 was 13,016.64, 13,287.82, 10,289.94, and 10,841.24 tons, respectively. Conclusion: This huge amount of nitrous oxide splurge is no longer a matter of laughter, and serious efforts should be made at every central and peripheral health center level to reduce it.

• Journal of Information Display
• /
• v.8 no.2
• /
• pp.10-14
• /
• 2007

A blazed $GxL^{TM}$ device is described as having high optical efficiency (> 70% for RGB lasers), and high contrast ratio (> 10,000:1), and that is highly reliable when used in a large-area laser projection system. It has a robust design and precise stress control technology to maintain a uniform shape (bow and tilt) of more than 6,000 ribbons, a $0.25-{\mu}m$ CMOS compatible fabrication processing and planarization techniques to reduce fluctuation of the ribbons, and a reliable Al-Cu reflective film that provided protection against a high-power laser. No degradation in characteristics of the GxL device is observed after operating a 5,000- lumen projector for 2,000 hours and conducting 2,000 temperature cycling tests at $-20^{\circ}C$ and $+80^{\circ}C$. At the 2005 World Exposition in Aichi, Japan the world's largest laser projection screen with a size of 2005 inches (10 m ${\times}$ 50 m) and 6 million pixels (1,080 ${\times}$ 5,760) was demonstrated.

• Journal of Digital Convergence
• /
• v.12 no.4
• /
• pp.475-484
• /
• 2014

This research was about the economic impact and the development plan by analyzing satisfaction and the contributions of Keochang International Festival(KIFT) that visitors recognize. It also sought ways to the development of an KIFT by conducting in-depth interviews with experts. According to the survey of visitors' recognition, KIFT contributed to the regional and the arts development. And it also showed that people recognize the contribution to imaging Keochang as the city of art. In regard to the visitors' satisfaction, they were satisfied generally with the festival and performance, but the satisfaction level was quite low with the traffic, service quality, etc. In respect to the economic impacts, the direct cost effect caused by holding the theater festival was 128,000 thousand won in 2013. Also the annual economic(indirect) impact on the production was 16 billion won, personal income 319,358 thousand won, added-value 7,549,540 thousand won, and taxes 780,733 thousand won.

• Journal of Digital Convergence
• /
• v.15 no.12
• /
• pp.503-508
• /
• 2017

Screen X is one of the Premium Large-Format platforms. Screen X projects images and video along the side wall of the theatre that go in synch with the front main screen. It's a different way of immersing the audience. This technique demands film-makers taking the two new "screens" into account when making movies. Screen X is the most obvious feature of viewing content with a range of 270 degrees. Viewers can view the experience of viewing experiences beyond the frame of screen screens by allowing viewers to experience the experience beyond the frame of screen screens, which means screen X can immerse the audiences without 3D glasses. Based on the results of this study, studies of content specifications and how they fit in the screen X are studied, and goals for maximizing the visual effects of the visual effects are studied. Looking forward to future research paper researchers and industry professionals who will benefit from future research papers.

• (The) Research of the performance art and culture
• /
• no.25
• /
• pp.211-251
• /
• 2012

I attempted to study the resolution of how I can show the essence of an original musical production to audience, the possibilities of how recreate impossible elements according to Korean musical environment because of cultural and linguistic differences, and verify the meaning of adjusting an original production to Korean one through directorial approaches to licensed musical production. I mainly exemplified 2009 Korean production (Charlotte Theatre, March ~ August, 2009) that I directed. The purpose that I wanted to analyze the case of Korean production mainly is able to prove a wide variety of possible challenges rather than simply licensed ones because the former was recreated in 30 years after the first original production. Recreation and coaching to acting through fine and precise analysis of an original production, Koreanizing Western culture of the licensed musical, resolving the problem of linguistic nuances are the important ways to direct licensed musical. For licensed musical director, cooperation with original creative team and Korean production company must be the most important job.

• Journal of Digital Convergence
• /
• v.15 no.4
• /
• pp.395-403
• /
• 2017

Narrators used to take an important role in the theatre of ancient Greece. They gave the audience an important information, explained the situations and conflicts between characters by talking to the audience directly. But in the realism play in the 20th century, which is represented as the 'fourth wall,' anything that can interrupt commitments of the audience such as a narrator, was excluded. However the two representative playwright in the 20th century, Thorton Wilder and Arthur Miller took narrators in their plays, Our Town and A View form the Bridge. This study shows why they adopted narrators in their play, which was unusual at that time and how this form of narrator affects to the meaning of the plays.