• Cartoon and Animation Studies
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• s.51
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• pp.391-411
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• 2018

The purpose of this thesis is to examine ontology of digital photo image based on a Simulacre concept of Gilles Deleuze & Jean Baudrillard. Traditionally, analog image follows the logic of reproduction with a similarity with original target. Therefore, visual reality of analog image is illuminated, interpreted, and described in a subjective viewpoint, but does not deviate from the interpreted reality. However, digital image does not exist physically but exists as information that is made of mathematical data, a digital algorithm. This digital image is that newness of every reproduction, that is, essence of subject 'once existing there' does not exist anymore, and does not instruct or reproduce an outside target. Therefore, digital image does not have the similarity and does not keep the index instruction ability anymore. It means that this digital image is converted into a virtual area, and this is not reproduction of already existing but display of not existing yet. This not-being of digital image changes understanding of reality, existence, and imagination. Now, dividing it into reality and imagination itself is meaningless, and this does not make digital image with technical improvement but is a new image that is basically completely different from existing image. Eventually, digital image of the day passes step to visualize an existent target, nonexistent things have been visualized, and reality operates virtually. It means that digital image does not reproduce our reality but reproduces other reality realistically. In other words, it is a virtual reproduction producing an image that is not related to a target, that is to say Simulacre. In the virtually simulated world, reality has an infinite possibility, and it is not a picture of the past and present and has a possibility as the infinite virtual that is not fixed, is infinitely mutable, and is not actualized yet.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.689-695
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• 2010

The effect of the code conversion process of Korean script (Hangul), also known as words for numbers, was investigated using event-related potentials (ERPs) during mental arithmetic operations. Study subjects were asked to determine whether the arithmetic results of a given target stimuli were correctly matched. Visual inspection and statistics of mean ERPs showed stimulus type-dependent processing rather than task-dependent processing. Results of addition and multiplication tasks revealed that the overall temporal profiles of the Arabic numerals were similar to the Hangul words for numbers. The only exception to this observation was a delayed positive-slope peak occurring around 300 ms, which was likely related to the encoding process of Hangul words for numbers to Arabic-digits, defined as a 'transcoding-related potential.' Source analysis confirmed that the topography of different waveforms for the two conditions was attributed to a single dipole located in the left temporo-parietal area; this area is known to be involved in Hangul words for number processing. These results suggest that the initial processing for encoding words for numbers was followed by arithmetic operations without direct access of internal number representation. Korea Academia-Industrial cooperation Society. The Korea Academia-Industrial cooperation Society. The Korea Academia-Industrial cooperation Society. The Korea Academia-Industrial cooperation Society.

• Cartoon and Animation Studies
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• s.17
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• pp.147-161
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• 2009

Colors in design elements are visual non-verbal symbols both sensual and emotional. It is the first priority in the selection of products for the consumers, and also represents differentiated strategies and coherent integration symbols for the brand. Colors in advertising is an important tool to represent the long-term image management for the brand as well as the product image and concept of the advertise. The theme of this paper is to develop creative advertisement analyzing colors from automobile video ads. Analysis results showed that video ads with small cars under 2000cc preferred pastel colors with high saturation and brightness to emphasize on individuality rather than authority. On the other hand video ads with big and luxury cars upper 2000cc preferred dark colors with lower saturation and brightness. Small car video ads focused on product appearance showing the practical value of the car, big luxury car video ads focused on the symbolic image feeling the difference between the representation of the ads. Colors used in advertisement represents the sensitivity of the consumers. In video ads the concept of the color should be set by identifying on who the globule targets are and on what item you show by identifying the corresponding colors sensitivity to suit your advertising strategy will increase the value of the brand and products.

• Journal of the Ergonomics Society of Korea
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• v.33 no.5
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• pp.395-405
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• 2014

Objective: The aim of this study is to investigate 1) somatotopic arrangement of the second and third fingers in SI area 2) difference of neural activation in the SI area produced by stimulation with different frequencies 3) correlation between the intensity of tactile perception by different stimulus intensity and the level of brain activation measurable by means of fMRI. Background: Somatosensory cortex can obtain the information of environmental stimuli about "where" (e.g., on the left palm), "what" (e.g., a book or a dog), and "how" (e.g., scrub gently or scrub roughly) to organism. However, compared to visual sense, the neural mechanism underlying the processing of specific electrotactile stimulus is still unknown. Method: 10 right-handed subjects participated in this study. Non-painful electrotactile stimuli were delivered to two different finger tips of right hand. Functional brain images were collected from 3.0T MRI using the single-shot EPI method. The scanning parameters were as follows: TR and TE were 3000, 35ms, respectively, flip angle 60, FOV $24{\times}24cm$, matrix size $64{\times}64$, slice thickness 4mm (no gap). SPM5 was used to analyze the fMRI data. Results: Significant activations produced by the stimulation were found in the SI, SII, the subcentral gyrus, the precentral gyrus, and the insula. In all participants, statistically significant activation was observed in the contralateral SI area and the bilateral SII areas by the stimulation on the fingers but ipsilaterally dominant. The SI area representing the second finger generally located in the more lateral and inferior side than that of the third finger across all the subjects. But no difference in brain area was found for the stimulation of the fingers by different frequencies. And two typical patterns were observed on the relationship between the perceived psychological intensity and the amount of voxels in the primary sensory cortex during the stimulation. Conclusion: It was possible to discriminate the representation sites in the SI by electrotactile stimulation of digit2 and digit3. But we could not find the differences of the brain areas according to different stimulation frequencies from 3 to 300Hz. Application: The results of the study can provide a deeper understanding of somatosensory cortex and offer the information for tactile display for blinds.

• Journal of the HCI Society of Korea
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• v.1 no.1
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• pp.37-44
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• 2006

Specular reflections provide the visual feedback that describes the material type of an object, its local shape, and lighting environment. In photorealistic rendering, there have been a number of research available to render specular reflections effectively based on a local reflection model. In traditional cel animations and cartoons, specular reflections plays important role in representing artistic intentions for an object and its related environment reflections, so the shapes of highlights are quite stylistic. In this paper, we present a method to render and control stylized specular reflections using projective textures based on principal curvature analysis. Specifying a texture as a pattern of a highlight and projecting the texture on the specular region of a given 3D model, we can obtain a stylized representation of specular reflections. For a given polygonal model, a view point, and a light source, we first find the maximum specular intensity point, and then locate the texture projector along the line parallel to the normal vector and passing through the point. The orientation of the projector is determined by the principal directions at the point. Finally, the size of the projection frustum is determined by the principal curvatures corresponding to the principal directions. The proposed method can control the position, orientation, and size of the specular reflection efficiently by translating the projector along the principal directions, rotating the projector about the normal vector, and scaling the principal curvatures, respectively. The method is be applicable to real-time applications such as cartoon style 3D games. We implement the method by Microsoft DirectX 9.0c SDK and programmable vertex/pixel shaders on Nvidia GeForce FX 7800 graphics subsystems. According to our experimental results, we can render and control the stylized specular reflections for a 3D model of several ten thousands of triangles in real-time.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.521-529
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• 2016

This paper presents the historical development process and expressive style of motion graphics which are intended to artistic expression, and discusses the value of artistic expressions in motion graphics through the works and activities of F5 and Semi-Permanent which are the representative organization of that. Commercial use of digital motion graphics has been rapidly widespread and used in most of the picture contents by changes in the digital video production environment with the development of the computer. Motion graphics begins with a graphic design applied to the motion graphic content and is transferred from the abstract representation of the animation at the same time. Since then motion graphics have been developed as an independent genre on the basis of graphic design and animation, and take the important position for the understanding and development of the contemporary design and content industry. Moreover, the motion graphics which present the experiment of various techniques and the aspect of mixed genres contribute to the development and diversification of the visual image. This paper is covered on not only F5 and Semi-Permanent that have published experimental artistic motion graphics but also the analysis of the developed ways and expressive patters to produce experimental motion graphics of their works. Furthermore, it discusses the experimental artistic value of these works.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.12
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• pp.894-906
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• 2006

There are many difficulties to develop a mobile contents due to many constraints on mobile environments. It is difficult to make a good mobile contents with only visual reduction of existing contents on wire Internet. Therefore, it is essential to devise the data representation and to develop the authoring tool to meet the needs of the mobile contents market. We suggest the compact mobile contents to learn Chinese characters and developed its authoring tool. The animation which our system produces is realistic as if someone writes letters with pen or brush. Moreover, our authoring tool makes a user generate a Chinese character animation easily and rapidly although she or he has not many knowledge in computer graphics, mobile programming or Chinese characters. The method to generate the stroke animation is following: We take basic character shape information represented with several contours from TTF(TrueType Font) and get the information for the stroke segmentation and stroke ordering from simple user input. And then, we decompose whole character shape into some strokes by using polygonal approximation technique. Next, the stroke animation for each stroke is automatically generated by the scan line algorithm ordered by the stroke direction. Finally, the ordered scan lines are compressed into some integers by reducing coordinate redundancy As a result, the stroke animation of our system is even smaller than GIF animation. Our method can be extended to rendering and animation of Hangul or general 2D shape based on vector graphics. We have the plan to find the method to automate the stroke segmentation and ordering without user input.

• Journal of the Korean Geographical Society
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• v.46 no.4
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• pp.534-553
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• 2011

Analogical thinking is a problem-solving strategy to use a familiar problem (or base analog) to solve a novel problem of the same type (the target problem). The purpose of this study is to provide new insight into geography teaching and learning by connecting cognitive science research on analogical thinking with issues of geography education and suggest that teaching with analogies can be a productive instructional strategy for geography. In this study, using the various examples of analogical thinking used in geography we defined analogical thinking, addressed the theoretical models on analogical transfer, and discussed conditions that make an effective analogical transfer. The major research findings include the following: a) the spatial analogy, indicating skills to find places that may be far apart but have similar locations, and therefore have other similar conditions and/or connections, can provide a useful way to design contents for place learning; b) representational transfer, specifying a common representation for two problems, can play a key role in solving geographic problems requiring data visualization and spatialization processes; and c) either asking learners to compare/analyze similar examples sharing common structure or providing them examples bridging the gap between concrete, real-life phenomena and the ideas and models can contribute to learning in geographic concepts and skills. The spatial analogy requiring both geographic content knowledge and visual/spatial thinking has the potential to become a content-specific problem-solving strategy. We ended with recommendations for future research on analogy that is important in geography education.

• Journal of the Korean Society for information Management
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• v.21 no.3
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• pp.1-14
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• 2004

Visualization of documents will help users when they do search similar documents. and all research in information retrieval addresses itself to the problem of a user with an information need facing a data source containing an acceptable solution to that need. In various contexts. adequate solutions to this problem have included alphabetized cubbyholes housing papyrus rolls. microfilm registers. card catalogs and inverted files coded onto discs. Many information retrieval systems rely on the use of a document surrogate. Though they might be surprise to discover it. nearly every information seeker uses an array of document surrogates. Summaries. tables of contents. abstracts. reviews, and MARC recordsthese are all document surrogates. That is, they stand infor a document allowing a user to make some decision regarding it. whether to retrieve a book from the stacks, whether to read an entire article, etc. In this paper another type of document surrogate is investigated using a grouping method of term list. lising Multidimensional Scaling Method (MDS) those surrogates are visualized on two-dimensional graph. The distances between dots on the two-dimensional graph can be represented as the similarity of the documents. More close the distance. more similar the documents.

• Cartoon and Animation Studies
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• s.48
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• pp.117-139
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• 2017

The possibility of interactivity of digital media environment is adopted in human expression system and integrates the dynamic aspect of digital technology with expressive structure, thereby transforming the paradigm of image acceptance as well as image expression range. Virtual reality images have an important meaning in that they are changing the one-way mechanism of production and acceptance of images that lead to producers-video-audiences beyond the problem of verisimilitude such as how vividly they simulate reality. First of all, the virtual reality image is not one-sided but interactive image composed by the user. Viewing a virtual reality image does not just see the camera shine, but it gets the same view as in the real world. Therefore, the image that was controlled through framing changes to be configured positively by the user. This implies a change in the paradigm of image acceptance as well as a change in the existing form of the image itself. In addition, the narrative structure of the image and the subjects that are formed in the process are also required to be discussed. In the virtual reality image, the user 's gaze is a fusion of the gaze inside the image and the gaze outside the image. This is because the position of the user as the subject of the gaze in the virtual reality image is continuously restricted by the device of the discourse such as the editing and the narration of the shot. The significance of the virtual reality image is not aesthetically perfect but it is reconstructed according to the user to reflect the existence of the user positively and engage the user in the image.