• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.597-604
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• 2012

In order to actualize the third dimension form, hologram is coming to attention because it has no restriction on viewing position and is capable of natural visual expression. Although hologram technology is the best method to embody 3D image without glasses, it is not commercialized due to several technological problems. Currently used hologram technology in concerts or exhibitions are images flashed on a 2-dimensional transparent screen by HD projectors which is similar to hologram technology, not truly same. In this research, we make 3D contents for Holographic projection and use these contents to present art that can interact with spectators. As a result of the exhibition, attendance showed satisfaction on inspection form, allowing spectators to move around the screen and view it both sides; moreover, they were enterprising to interact with the videos played according to their movements. Therefore, we are able to implement a sensible and spatio-temporal artwork along with interesting space production and represent a intimate and interactive space with the public.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

• Korean Journal of Animal Reproduction
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• v.26 no.4
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• pp.377-384
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• 2002

To investigate the expression patterns of proteins and growth factor signals in differentiated rabbit embryonic stem (ES) cells, ES cells with confluent stage grown of feeder layer and differentiated cells into embryoid bodies (EB) without feeder cell were applied to protein gel and Western blotting analysis. There were 66kDa and 28kDa specifically expressed in differentiated ES cell but not in undifferentiated ES cell while 25kDa protein band showed up in only undifferentiated ES cells. Also there were some difference of protein bands in several area of gel between differentiated and undifferentiated ES cells such as about 100 kDa, 50kDa and 27kDa areas, but there was no difference in band pattern of one-dimensional gel analysis between mouse ES cells and rabbit ES cells. IGF-I receptor and EGF receptor were expressed in differentiated cells and undifferentiated cells. And ICF-I and EGF were not expressed in both differentiated and undifferentiated cells. These results indicated that ES cells express their own proteins to inhibit differentiation while EB cells synthesize different proteins to differentiate, and 16F-I receptor and EGF receptor were expressed in both ES and EB cells probably for the different functions.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.132-141
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• 2012

This paper historically sheds the new lights on the artistic worth and achievement of abstract animation in the animation genre, and presents the contemporary significance and importance of abstract animation through the study on the avant-garde characteristic and the works of abstract animation artist, including Mirai Mizue. Though abstract animation which is artists' experimental work dealing with speed and movement of image has an essential role for the development of modern visual culture and animation, it is losing meaning and value because of the commercialism and capitalism of digital contents industry. Therefore, this paper first presents that the study of experimental animation like abstract animation contributes to the diversification and improvement of digital contents industry then it discusses the effect on the contemporary digital contents industries, next analyze the historical development and comtemporary evolution of abstract animation, which is diversified from modernism to contemporary art, and finally discuss the experimental feature and expression of abstract animation.

• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• Cartoon and Animation Studies
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• s.41
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• pp.133-152
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• 2015

Some artists and scientists in physics and animation originating from research on its form of expression thanks to the rapid development of the example in the late 20th century image production technology integrating existing media feature, perform a re-creation and pop culture content has been recognized as a key factor. animation of the modern emphasis is also commercial and artistic activities as show whether the artist can not be excluded that also target audience. The audience does not want only to receive offers simply 'seeing' and 'hearing' in the animation requires a more indirect mental met. the other side, the director should lead the audience to immerse myself in work as intended mystification induce the world. where a conflict occurs between the audience and the director and The director needs to have its troubleshooting point to 'Technology of the communication'. Which is reduced to 'How will tell,' is technology communication technologies that are abbreviated representations of animation director is accessible to the audience and it is a close relationship between the psychological aspect of audience. Because, the audience is reproduced in a limited space, but he called on the board of directors and the same time the screen, the audience located at reception and the director located at provide. It is given. led force is given to the director. for this reason, The director needs to pay attention to the psychological aspect of audience this can be explained based on psychoanalytic theory. In this paper, "How can you lie to the audience and the director is the same line?" put down logic that is the animation audience under the logic that takes place visually capture phenomenon "selective attention" and sub-concept of "goal-directed selection' and 'stimulus-driven capturel' for theory of psychology. also, Induction device to elicit selective attention of the audience accordingly, let's consider whether and how they apply in animation.

• The Transactions of the Korea Information Processing Society
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• v.13 no.6
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• pp.284-290
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• 2024

Speech emotion recognition (SER) is a technique that is used to analyze the speaker's voice patterns, including vibration, intensity, and tone, to determine their emotional state. There has been an increase in interest in artificial intelligence (AI) techniques, which are now widely used in medicine, education, industry, and the military. Nevertheless, existing researchers have attained impressive results by utilizing acted-out speech from skilled actors in a controlled environment for various scenarios. In particular, there is a mismatch between acted and spontaneous speech since acted speech includes more explicit emotional expressions than spontaneous speech. For this reason, spontaneous speech-emotion recognition remains a challenging task. This paper aims to conduct emotion recognition and improve performance using spontaneous speech data. To this end, we implement deep learning-based speech emotion recognition using the VGG (Visual Geometry Group) after converting 1-dimensional audio signals into a 2-dimensional spectrogram image. The experimental evaluations are performed on the Korean spontaneous emotional speech database from AI-Hub, consisting of 7 emotions, i.e., joy, love, anger, fear, sadness, surprise, and neutral. As a result, we achieved an average accuracy of 83.5% and 73.0% for adults and young people using a time-frequency 2-dimension spectrogram, respectively. In conclusion, our findings demonstrated that the suggested framework outperformed current state-of-the-art techniques for spontaneous speech and showed a promising performance despite the difficulty in quantifying spontaneous speech emotional expression.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.390-400
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• 2022

University Identity can effectively convey the core values for which schools aim by establishing university identity and integrating one unique image. Therefore, most universities are actively implementing promotional strategies such as newly defining university identity or releasing cultural products. Recently, university brands have been continuously exposed and differentiated through SNS such as Instagram, YouTube, and Facebook as well as existing advertisements and homepages. This study analyzes the identities of the top 80 universities in Korea and China, by referring to the rankings of Asian universities in the 2021 QS World University Rankings, and addresses differences in terms of design shape, number of colors, and use of English. Moreover, 'Cohen's Kappa' consistency analysis was applied to secure data accuracy by analyzing the difference in visual expression of university identity between the two countries through quantification and cross-analysis of visualized university identity design of Korean and Chinese universities. As a result of the study, it is creative, irregular, and has a lot of use of blue, red, and green, and most of them can be seen in less than two colors. In addition, it turns out that word marks and abstract forms of expression are used for university identity design. This study can present implications as effective basic data for internationalizing universities and creating differentiated university identity designs in the future.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.369-376
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• 2021

3D architectural visualization animation has become more important in architectural presentations due to the rapid development of digital technology. Unlike games and movies, architectural visualization animation most focuses on delivering visual information, and aims to express the sense of space that viewers feel in an architectural space, rather than simply providing an image of viewing buildings. The sense of space is affected not only by physical elements of architecture, but also by immaterial elements such as light, time, and human actions, and it is more advantageous to express it in animations that can contain temporality compared to a fixed image. Therefore, the purpose of this study is to search for elements to effectively convey a sense of space in architectural visualization animation. To this end, the works of renowned architectural visualization artists that are open to the public were selected and observed to search for elements to effectively convey a sense of space to viewers. The elements that convey the sense of space that are common to the investigated architectural animations can be classified into the movement and manipulation of the camera, the movement of surrounding objects, the change of the light environment, the change of the weather, the control of time, and the insertion of a surreal scene. It will be followed by a discussion on the immersion of architectural contents.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.