• Journal of Broadcast Engineering
• /
• v.23 no.1
• /
• pp.45-52
• /
• 2018

The virtual reality (VR) cartoon is a format of VR contents that leverage the characteristics of webtoons that provides the simple story line and graphical storytelling tools to strategically surmount limitations of VR contents design. The VR cartoon enables people to experience the imaginary three-dimensional space in the webtoon as a real space by the transformation of webtoon contents through VR prototyping. The VR cartoon successfully presents focused environment where people can readily pay attention to the contents without notable motion sickness. People have been familiar with the storytelling strategy in the context of published cartoons and webtoons, likely we've understood the narrative of a movie through the continuous scenes projected in the screen. Indeed, it has been recognized as a popular toolset of communication, where visual images are sequentially delivered by replacing multiple planar spaces to tell a story narrative. While there are discrete panels with the time and space resolution in the graphical cartoons, people can distill a commit closure based on their past experiences. This is a typical "grammar" of the cartoon, which can be extrapolated to the VR cartoon that provides a seminal storytelling strategy. In this article, we review how the storytelling strategy in webtoons has been transformed into that in VR cartoons, and analyze the key components of VR cartoons. We envision that our research can potentially create keystones to produce variety of new VR contents by reflecting various narrative media including cartoon as a 'sequential art'.

• Journal of the Korea Convergence Society
• /
• v.7 no.4
• /
• pp.155-162
• /
• 2016

Communication of art and the expansion of roles are some of the important discourses of art. For a while, many attempts were made to overcome the enjoyment of art by only a few elites and the alienation of roles. In the meanwhile, due to its formative nature, media art has contributed to the various expansion of roles as a familiar art in society and by communicating with the public in various play contents and industrial context. This study will take a step further and examined whether media art can assess and be used in social issues through the characteristic analysis of 'media art information visualization.' The general field of information visualization only focuses on the clarity of information delivery, so it is effective for intuitively identifying various information. However, stiff visual expression must improve user-friendly functions in an era in which users' sensibility is increasing, and it only focuses on the effectiveness of information delivery that its secondary social problem such as personal information protection must be compensated. Thus, this research analyze the characteristics of case works to examine how the visualization of media art information can approach social problems creatively, seek the expansion of the role of art and compensate the areas that general information visualization is missing.

• Journal of Science of Art and Design
• /
• v.1
• /
• pp.125-164
• /
• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• Journal of the Korean Society of Costume
• /
• v.53 no.2
• /
• pp.153-169
• /
• 2003

I think that apparel attaches importance to the degree of satisfaction of visual expression in one ornamental culture in which it is clothed on human body. whereas a tattoo attaches more importance to part of the expression of one's own identity in the same context. However. modern tattooing act was highlighted only as an element of act which was negative in the purpose and the degree of taste or which assumed the grotesque meaning of a particular group. away from pure concepts such as simple ornament or an amulet according to the flow of the world. A tattoo is gradually being seen as one of avant-garde methods of art again these days, and TATTOO LOOK is being popularized as street fashion as an effective method of one's own satisfied desires and peculiar expression of personality. I have got the following conclusions as the result of having studied on a tattoo which is establishing itself as another plastic art that is matchable with the fashion of dress and its ornaments in which human incessant instinctive desire for the ornament of body has been beyond nostalgia for the past and simple ornament which were pure in up-to-date modern society First, a tattoo is of personality. In that it solidifies one's own personality of another side by being transformed, one's own attraction can be transferred to a fashion tattoo with which one can emit one's own personality. Secondly. a tattoo is fashion. As a new body ornament called transformation by a tattoo was emerging, the fashionableness owned by a tattoo had in its area ample room for the fashionableness with which it can coexist with the culture of dress and its ornaments. Thirdly. a tattoo is popularized. TATTOO LOOK in which one's own satisfied desires and the expression of personality are properly applied is being recently transmitted easily everywhere in the world and popularized as street fashion. Fourthly, a tattoo is not depraved art. It's because of the point that a tattoo which had been recognized only as a decadent expression in which avant-garde elements of unknown nationality appeared mixed showed the possibility that it could establish itself as fashion art. If we go on studying and complementing the problems of individual sides about a tattoo also in the future, the infinite fashionableness for the elements called personality. sense and emotion owned by a tattoo suggested ample possibility as future industry to be highlighted.

• Science of Emotion and Sensibility
• /
• v.9 no.spc3
• /
• pp.209-224
• /
• 2006

Hierarchy which is often named as the tree-structure is used to reduce complexity and show primitive structures of complicated information. This paper aims at explaining information-visualization methods using hierarchies in multimedia domains and prospecting the possible applications by examining how they affect the user's tasks involved in information-seeking activities. As a result, four types of information visualization methods named Treemap, Hyperbolic, Cone Tree and DOI Tree employed in multimedia domain, are presented and pros and cons of each method are explained in this paper. Another important part is defining the core tasks and other related-tasks in information-seeking activities, such as, overview, zoom, filter, details-on-demand, relate, history, and extract. Followings are major findings. Treemap uses 'overview' as the core task, which makes user to gain a overall meaning of the whole information cluster. Hyperbolic and DOI Tree apply 'Boom' task through the function of focus+context or by the function of meaningful scaling to magnify or downsize each node. Cone Tree, also, makes the information organizer to classify the patterns of information acquired in the process of users' information-seeking activities by using 'extract' task. Through this study, it is finally found out that the information-visualization methods using hierarchies in multimedia domains should incorporate the wide variety of functional needs related to users' information-seeking behaviors beyond the visual representation of information.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.526-530
• /
• 2009

In this paper, we propose a contextual information and physics-based contents manipulation method for a mobile augmented reality authoring system. Due to proliferation of ubiquitous computing in information technology(IT) and advances in sensor technology and mobile devices, AR systems that were only possible in PC can be now feasible on mobile devices. In addition, many AR systems have been proposed that utilize sensory data and reflect them into. Thus, the proposed method provides appropriate visual cues for 3D manipulations of the augmented contents. In addition, uses can manipulate the augmented contents with sensory information through the assignment of sensors to the contents. Moreover, it supports not only a physics-based contents loader that enables users to specify physics properties into the contents, but also the transform matrix between AR and physics engine coordinates. To show the feasibility of the proposed method, we implemented a mobile augmented reality authoring system. We believe that the proposed method can be a key factor for context-aware mobile AR authoring system.

• Journal of Korean Society of Transportation
• /
• v.23 no.7 s.85
• /
• pp.17-33
• /
• 2005

Highway design speed is a very important design element which determines highway design level. When determining highway design speed, one would estimate it utilizing the most likelihood of design speed and vehicle operating speed relationship. Existing operating speed prediction models only include highway geometric characteristics and their impacts on speed, which usually can not consider the impact of highway design speed on surrounding roadway environment and land use pattern. If this happens, excessive highway construction cost and huge environmental impact can occur. In this research project, a new vehicle operating speed prediction model was developed which can reflect the effect of surrounding roadway environment into vehicle speed prediction. The followings are the research findings : Firstly, highway terrain types and land use pattern on national roads were classified and integrated into drivers' visual recognition pattern. This was performed using a data management software. Secondly, the developed highway terrain types and land use pattern were related to vehicle speeds and it was found that there were significant statistical differences among vehicle speed for each different terrain and land use pattern. Thirdly. the General Linear Model analysis was employed to analyze the effects of highway geometric features, terrain types, and land use patterns. For two-lane highway and four-lane highway tested in this research project, it was found that R squares were 0.67 and 0.85, respectively. Additionally an optimal highway design speed range table, based on this research project. was proposed for practical use. This table can be reliably used on South Korean national road design, but discretion is required for applying this table to other types of highways including provincial roads and municipal roads.

• The Journal of Art Theory & Practice
• /
• no.6
• /
• pp.27-50
• /
• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• The Journal of the Korea Contents Association
• /
• v.20 no.7
• /
• pp.302-315
• /
• 2020

The issue concerning how to integrate with the needs of sustainable development according to Crime Prevention Through Environmental Design(CPTED) theory still continues in the development process of the third-generation theory at the present stage. In addition, the issue is under worldwide controversy and discussion. What is more noteworthy is that the viewpoints under debate and discussion have an influence on the mutual effect and relationship between the theoretical model and the principles in the theoretical model, and the influence can never be underestimated. After a mastery of the overall context of theoretical development, it is believed in this study that the identity of CPTED theory development can provide a diverse understanding dimension and a communication method between the environment and environmental users. On the basis of identity the development of CPTED theory, the crime prevention design mode of CPTED needs to connect different dimensions of sustainability, with the design goal of livability as the starting point, the Top-down model to adjust the safety of the environment. By no means can the environmental condition be improved by solely relying on the previous physical design method in virtue of Bottom-up model. Therefore, in this study, the identity of CPTED will be set as the core combined with Top-down crime prevention design model to propose a visual proposal for the reconstitution of the theoretical model, rather than supplementing the application of the contents or principles at a certain stage. Hence, it is expected to provide reference and enlightenment for the sustainable development of CPTED theory.

• Journal of Digital Convergence
• /
• v.11 no.4
• /
• pp.403-408
• /
• 2013

The configuration analysis for the image appeared in the storyboard as the 1st stage to change the scenario to the image expressed the visual phenomenon image starting from the literalism. The simultaneity of description on the interpretative level of the narrative description may describe various information multiple simultaneously, the relationship has been presented as a lot of these information has been weaved as one episode. The incident time of narrative description as the scene described mainly objectively and illustratively has been used usefully to present the accurate information for characters or incidents. The time series of narrative description appeared as one episode by expressing various spaces or images under the continuity of flow according to the time. The collision image seen from the angle of internal ignition played a role to create the meaning colliding into each other or interconnecting symbolic effects appeared as respectively fragmented image, the continuity of space played a role of expressing the different symbol when the image of completely different space is connected to one context, the continuity of time as well makes a different symbolism by interpreting symbols appeared as each images under the flow of time. These results show that the narrative description may be expressed in accordance with the narrative structure from the viewpoints of narrative description, but the internal ignition may be interpreted through the cultural and periodical background widely known in those years based on the experience and information capability the audiences are keeping not by any descriptive structure. Images appeared in the internal ignition appeared by colliding into each other or amplifying mutually no related scenes and revealing the overall symbolism by reinterpreting again.