• Korean Institute of Interior Design Journal
• /
• no.5
• /
• pp.59-65
• /
• 1995

This thesis focuses on a study of design science, which is of a disciplinary character. And the purpose of such a study is to suggest a new direction to develop aesthetics through an empirical research into environmental psychol-ogy, human behavior, design thought, and the visual qual-ity of environment. The author of this study, since recognizing the necessi-ty of understanding environmental aesthetics as well as the necessity of aesthetics, has done an elementary study of empirical aesthetes, and then obtained some facts as follows: First, it is possible to analyse the visual characteristics immanent in the interrelations between human and envi-ronment by means of applying both the information the-ory of formal perception and expressional value and the perceptual theory of ecology to environmental aesthetics. Second, formal aesthetics is a science about the form and structure and in the meantime, symbolic aesthetics is a science about the environmental patterns giving pleas-ure to mankind and its associative meanings. Accordingly it is same as providing some aesthetic value to the ob-ject of environment design to apply some empirical data of visual quality to environmental design. Through such a process, users are provided or delivered with diverse, visual effect. In conclusion, environmental aesthetics is worthwhile to study, and its purpose is that it, as a framework of use-ful knowledge to the creation of the environment superi-or in quality, be applied to design.

• Journal of Korea Multimedia Society
• /
• v.19 no.8
• /
• pp.1337-1344
• /
• 2016

As the visual effect frequently used in movies or animations, special effects are well suited for the creation of buildings or materials' destruction and collapse scenes. With the relevant programs developing technologically, the adoption of a real-time physically based-system makes it possible to realistically express dynamic simulations. In the large scale, the visual expression of such effects of destroying is satisfying enough, but most common programs of those effects fail to maximize visual effect generated with the cutting of small materials. Besides, to perform a heavy simulation process needs high-performance hardware and programs, where high costs would become a serious issue. For this reason, this paper suggests a solution optimized for the effect of small materials-cutting. The progress of each step shows technologies which trace movement with the state of the completion of the character's motions and then cut the material in real-time, finally led to the very realistic visual effect. Besides, using vector inner calculation to follow the motions of object and to realize cutting effect, this study provides an experiment that constructs visual effect for visualization from the basis of mathematical algorithm and it would be certainly as an educational material used for further researches.

• The Journal of the Korea Contents Association
• /
• v.9 no.9
• /
• pp.125-133
• /
• 2009

As interactivity is becoming one of the key success factors in today's digital communication environment, increasing emphasis is being placed on technologies for user-oriented emotion expression. We aim for development of enabling technologies for creation of emotional characters who can express personalized emotions in real-time. In this paper, we conduct a survey on domestic and international researches and case studies for emotional characters with a focus on facial expression. The survey result is believed to have its meaning as a guideline for future research direction.

• International Journal of Computer Science & Network Security
• /
• v.21 no.8
• /
• pp.97-104
• /
• 2021

The key challenges and problematic aspects of the formation of intellectually and innovation-oriented strategies of regional entities at the present stage of their development are considered. The main tasks that arise in the process of strategizing the potential-forming development of regional economic systems in the context of digitalization are identified. The list of key organizational and economic directions of strategic character of providing intellectual and innovative development of regional economic systems is formed, which includes clustering of centers of high-tech development of regions, creation of creative hubs, development of knowledge infrastructure and improvement of interregional cooperation; a brief description of each of the presented strategic organizational and economic directions is given. Based on the analysis, the key strategic guidelines for the development of regional economic entities in the context of digitalization under the influence of potential-forming determinants, which form the content basis for further processes of strategizing qualitative aspects of development of specific regional entities.

• Journal of Korea Game Society
• /
• v.21 no.2
• /
• pp.55-66
• /
• 2021

The research studies how features of games can be utilized and converted into storytelling elements by analyzing specific transmedia storytelling cases. For the research, was selected for subjects of analysis. From the analysis conducted, first, how game can be expanded and transformed into interactive animations was observed. Also, use of representative elements of the original game, concepts and basic settings in was seen. And lastly, implementation of transmedia storytelling strategies that constitute narratives based on character creation and connection between spaces was also observed.

• Journal of East-Asian Urban History
• /
• v.3 no.1
• /
• pp.83-120
• /
• 2021

This article analyzes the publicness of early modern cities and the character of samurai residences as urban dwellers through the water supply and use of the Edo period in Japan. Firstly, in Edo, a megacity with a population of about one million, the Shogunate organized samurai residences (mainly those of feudal lords, Daimyo) into geographical organizations, and samurai residences paid for the repair of water facility and the water fee, just the same as the townspeople. Next, in Fukui (provincial castle town), samurai residence (Daimyo's vassal) organization for waterway didn't exist. The samurai residences were relieved of the burden of maintaining the waterways due to poverty. And, before the later Edo period, samurai vassals were not punished for violating the rules on water use, but they were eventually included in the punishment. The gap in feudal status between samurai and townspeople narrowed. It was a process of creating a modern urban society composed of equal dwellers. Although Edo and Fukui belonged to the same category as castle towns, the urban publicness and the position of samurai residences were different due to their dissimilar political positions as the Shogunate capital city and the Daimyo's provincial castle town.

• International Journal of Advanced Culture Technology
• /
• v.11 no.1
• /
• pp.253-262
• /
• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2022.11a
• /
• pp.934-936
• /
• 2022

현재 사회적인(COVID-19) 영향으로 메타버스에 대한 수요가 급증하였지만, 메타버스 플랫폼 진입을 지원하는 XR(AR/VR) 장비의 높은 가격대와 전문성 요구로 폭넓은 수요층을 포괄하기 어려운 상황이다. 본 논문에서는 이러한 수요층의 어려움을 개선하고자 웹 캠이나 스마트폰 카메라로 생성된 개인의 사진 이미지를 StyleGAN 딥러닝 기술과 접목시켜 캐릭터를 생성해 Mediapipe를 활용하여 모션 측정 및 제어를 처리하는 서비스를 제안하여 메타버스 시장의 대중화에 기여하고자 한다.

• SUVANNABHUMI
• /
• v.16 no.1
• /
• pp.103-123
• /
• 2024

The traumatic experiences of people from peripheral islands are susceptible to mnemocide. Such erasure of memory is facilitated by "defensive and complicit forgetting," which, according to Aleida Assmann, leads to "protection of perpetrators." My paper reflects on the vulnerability of traumas from the islands to mnemocide by looking into [1] the massacre of communists and civilians on Jeju Island, South Korea in 1948 as described in Hyun-Kil Un's short story "Dead Silence" (2017; English trans.) and [2] the eviction of residents and indigenous people from Calauit Island, Philippines for the creation of a safari in 1976 as imagined in Annette A. Ferrer's "Pablo and the Zebra" (2017). In "Dead Silence," I direct the attention to how to the execution of the villagers-witnesses to the death of the communist guerillas-is a three-pronged violence: it is a transgression committed against the innocent civilians; an act of "erasing traces to cover up" the military crackdown on the island; and, by leaving the corpses out in the open, a display of impunity. In "Pablo and the Zebra," I second that both residents (i.e., humans and animals) experience post-traumatic stress because of their respective displacements; thus, the tension between them has got to stop. Curiously, while it concludes with a reconciliatory gesture between an elder and a zebra, no character demanded a reparation for their traumatic past per se. Could the latter be symptomatic of a silence that lets such violence "remain concealed for a long time"?

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.153-199
• /
• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.