• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.119-126
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• 2019

Watching movies is common on a big screen like a theater or on a big-screen TV. nowadays, small platform such as mobile devices is increasing rapidly for watch a movie. These changes are deeply related to the advent of Internet-based video streaming services such as OTT. OTT's development has provided in free video viewing system without using the set-top box is free from the limitations of time and space. Leading the market is Netflix[1], which started its business with Internet-based DVD rental service. Netflix, which is growing in tandem with the mobile market, had 193.26[2] million members as of the end of 2018. Other OTT participating companies include content-based Pooq, TVing, platform-based Olleh TV Mobile, Oksusu and LTE video portal. The size of such new growth projects has grown gradually, with 25.4 percent of all smartphone users currently watching video content with small mobile devices. Therefore, de-largeization, it is thought that visual language is needed for viewing small mobile devices that are capable of OTT services. To this end, this paper will identify the problem in viewing popular video content with small mobile devices and Survey and study its impact on viewers using the questionnaire.

• Korean Association for Visual Culture
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• v.16
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• pp.131-161
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• 2010

This thesis investigates the cultural meanings of the first optical instrument, Camera obscura, in the pre-modern age, while it explains the development as well as the use of the Camera obscura in Europe and Korea. For this purpose the thesis traces the significant phases of the historical developments of the Camera obscura from L. da Vinci, G. B. della Porta, D. Barbaro, A. Kircher to J. Zahn etc. The Camera obscura was not only the symbolic instrument of the modernism in the sense that human being wanted to observe the outer world by himself and to be freed from the viewpoint of the christianity, but also was the forerunner of the modern visual culture, because it first time reproduced the artificial image of the natural world. Since the second half of the 17th century the box-type reflex Camera obscura had been produced, it began to be used as aid to drawing for painters like J. Vermeer, A. Canaletto and J. Reynolds etc. throughout Europe. It tells the evidence of the close relation between art and technology in the pre-modern age. Around the end of the 18th century the Camera obscura was brought to Korea, the closed country of the Fareast, by the scholars of the so-called 'Realist school' (Silhak-pa) who went to Beijing to acquire knowledges on the Western science from the European priests. In 1780s Yak-yong JUNG, one of the representative scholars of the Realist school, experimented the Camera obscura, and then, it was used for sketches of higher aristocrats' portraits by the supreme portrait painter of that time, Myoung-ki LEE. Those were possible only under the reign of the culturally liberal and reformative King, Jung-jo (ruled 1776-1800), and after his retreatment the inquiry of the Camera obscura had been dimished. It is not a historical coincidence that the Camera obscura could be examined and used in the period of the Enlightment both in Europe and Korea.

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Journal of the Society of Disaster Information
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• v.19 no.4
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• pp.916-923
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• 2023

Purpose: Looking at the status of fatal accidents in the construction industry in the 2022 Industrial Accident Status Supplementary Statistics, 27.8% of all fatal accidents in the construction industry are caused by construction equipment. In order to overcome the limitations of tours and inspections caused by the enlargement of sites and high-rise buildings, we plan to build a model that can extract construction equipment using computer vision technology and analyze the model's accuracy and field applicability. Method: In this study, deep learning is used to learn image data from excavators, dump trucks, and mobile cranes among construction equipment, and then the learning results are evaluated and analyzed and applied to construction sites. Result: At site 'A', objects of excavators and dump trucks were extracted, and the average extraction accuracy was 81.42% for excavators and 78.23% for dump trucks. The mobile crane at site 'B' showed an average accuracy of 78.14%. Conclusion: It is believed that the efficiency of on-site safety management can be increased and the risk factors for disaster occurrence can be minimized. In addition, based on this study, it can be used as basic data on the introduction of smart construction technology at construction sites.

• Journal of the Korean Society of Radiology
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• v.17 no.7
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• pp.1033-1039
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• 2023

Low-dose chest CT, which is used as a lung screening test, also includes information on coronary artery calcification within the scan range. The purpose of this study was to investigate the usefulness of determining coronary artery calcification using Low-dose chest CT. Those who underwent low-dose chest CT and coronary artery calcification score CT on the same day were eligible. Coronary artery calcium score CT results were divided into 4 groups (Low: 1〈CACS〈10, Mild: 10〈CACS〈100, Moderate: 100〈CACS〈400, High: 400〈CACS) by referring to the Coronary artery calcium score categories and risks. After selecting 30 people each group, five radiotechnologists with more than 15 years of experience in coronary artery calcium measurement retrospectively analyzed the presence or absence of coronary artery calcification in low-dose chest CT images. The results of the five observers' uniform interpretation of the low-dose chest CT image were consistent with the coronary artery calcium score CT results in Low group: 56%, Mild group: 96.6%, Moderate group: 100%, and High group: 100%. appeared. In the Low group, all 5 observers observed calcification in 17 out of 30 cases, and in 7 cases all 5 observers decided that calcification could not be identified. Coronary artery calcification could be observed in 100% of asymptomatic adults with a calcium score of 15 or higher in low-dose chest CT scans. The minimum calcium score that can be identified is 1, and it was found that even very small calcifications can be identified when the subject's body size is small or the scan is performed at a time when heart movement is minimal.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.33-68
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• 2023

Simwudo (尋牛圖), known as Ox Seeking Pictures, originated in the 11th-12th century and have consistently played a guiding role in the teachings of various religions in East Asia. Some Korean religions that emerged during modern times conveyed their teachings through depictions of ox seeking or herding. Among them, Daesoon Jinrihoe stands out as a representative religion. The belief system of this particular religion elucidates its distinct doctrine and worldview by reimagining Simwudo, into a new set of six panels (seven or nine panels in some variations). The Simwudo of Daesoon Jinrihoe differs from that of Buddhism, particularly in its treatment of meditation (禪), both in terms of context and significance. While they share similarities in the aspect of ox-seeking, the Buddhist Simwudo symbolizes human nature, whereas the Simwudo of Daesoon Jinrihoe represents the great Dao of Heaven and Earth propagated by Kang Jeungsan and brought into completion by Jo Jeongsan. In the Buddhist context, the subject of the search is the Ox, signifying the restoration of a deluded human's pure nature in order to achieve personal salvation and in some version of Simwudo, reenter society to perform salvific actions for others. On the other hand, in the Simwudo of Daesoon Jinrihoe depicts the process of a human attaining immortality and following the teachings of Jeungsan and Jeongsan. This culminates in the final image which is the redemption of the world. The final phase of the Buddhist Simwudo, depending on the version, is either enlightenment (personal salvation) or reentering society to perform salvific actions (as a bodhisattva), whereas the Simwudo of Daesoon Jinrihoe show the simultaneous achievement of the perfection of humanity and the redemption of the world. This distinction highlights the fundamental differences between the Simwudo of these two distinctly different religious traditions. These differences arise from the contrasting purposes pursued by Buddhism and Daesoon Jinrihoe.

• Journal of The Korean Astronomical Society
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• v.56 no.2
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• pp.213-224
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• 2023

Type II solar radio bursts show frequency drifts from high to low over time. They have been known as a signature of coronal shock associated with Coronal Mass Ejections (CMEs) and/or flares, which cause an abrupt change in the space environment near the Earth (space weather). Therefore, early detection of type II bursts is important for forecasting of space weather. In this study, we develop a deep-learning (DL) model for the automatic detection of type II bursts. For this purpose, we adopted a 1-D Convolution Neutral Network (CNN) as it is well-suited for processing spatiotemporal information within the applied data set. We utilized a total of 286 radio burst spectrum images obtained by Hiraiso Radio Spectrograph (HiRAS) from 1991 and 2012, along with 231 spectrum images without the bursts from 2009 to 2015, to recognizes type II bursts. The burst types were labeled manually according to their spectra features in an answer table. Subsequently, we applied the 1-D CNN technique to the spectrum images using two filter windows with different size along time axis. To develop the DL model, we randomly selected 412 spectrum images (80%) for training and validation. The train history shows that both train and validation losses drop rapidly, while train and validation accuracies increased within approximately 100 epoches. For evaluation of the model's performance, we used 105 test images (20%) and employed a contingence table. It is found that false alarm ratio (FAR) and critical success index (CSI) were 0.14 and 0.83, respectively. Furthermore, we confirmed above result by adopting five-fold cross-validation method, in which we re-sampled five groups randomly. The estimated mean FAR and CSI of the five groups were 0.05 and 0.87, respectively. For experimental purposes, we applied our proposed model to 85 HiRAS type II radio bursts listed in the NGDC catalogue from 2009 to 2016 and 184 quiet (no bursts) spectrum images before and after the type II bursts. As a result, our model successfully detected 79 events (93%) of type II events. This results demonstrates, for the first time, that the 1-D CNN algorithm is useful for detecting type II bursts.

• Journal of the Korean Association of Geographic Information Studies
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• v.26 no.4
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• pp.237-250
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• 2023

Orthophotos and DEMs were generated by UAV-based aerial photogrammetry and an attempt was made to apply them to detailed investigations for the production of flood traces. The cultivated area located in Goa-eup, Gumi, where the embankment collapsed and inundated inundation occurred due to the impact of 6th Typhoon Sanba in 2012, was selected as rhe target area. To obtain optimal accuracy of UAV photogrammetry performance, the UAV images were taken under the optimal placement of 19 GCPs and then point cloud, DEM, and orthoimages were generated through image processing using Pix4Dmapper software. After applying CloudCompare's CSF Filtering to separate the point cloud into ground elements and non-ground elements, a finally corrected DEM was created using only non-ground elements in GRASS GIS software. The flood level and flood depth data extracted from the final generated DEM were compared and presented with the flood level and flood depth data from existing data as of 2012 provided through the public data portal site of the Korea Land and Geospatial Informatix Corporation(LX).

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.1-54
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• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.