• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.

• The Bulletin of The Korean Astronomical Society
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• v.41 no.2
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• pp.33.1-33.1
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• 2016

We report detection of short-term flux variability in multi-epoch observations and intraday variability in polarized emission at millimeter-wavelength from S5 0716+714 using Korean VLBI Network (KVN) radio telescopes. Over the whole observation epochs, the source shows significant inter-month variations at K- and Q-band with modulation indices of 19% at K-band and 36% at Q-band. In each epoch, the source shows monotonic flux increase in Epoch 1 and 3, and monotonic flux decrease in Epoch 2 and 4. We found an inverted spectrum with mean spectral indices of -0.57 in Epoch 1 and -0.15 in Epoch. On the contrary, we found relatively steep indices of 0.24 and 0.17 in Epoch 2 and Epoch 4, respectively. In the study of intraday variability of polarization, we found significant variations in the degree of linear polarization at 86 GHz, and in polarization angle at 43 and 86 GHz during ~10 h. The spectrum of the source is quite flat with spectral indices of -0.07 to 0.07 at 22-43 GHz and -0.23 to 0.04 at 43-86 GHz. The measured degree of the linear polarization ranges from 2.3% to 3.3 % at 22 GHz, from 0.9% to 2.2 % at 43 GHz and from 0.4 % to 4.0 % at 86 GHz, yielding prominent variations at 86 GHz over 4-5 h. The linear polarization angle is in the range of 4 to $12^{\circ}$ at 22 GHz, -39 to $81^{\circ}$ at 43 GHz, and 66 to 119 at 86 GHz with a maximum rotation of $110^{\circ}$ at 43 GHz over ~4 h. We estimated the Faraday rotation measures (RM) ranging from -9200 to 6300 rad m-2 between 22 and 43 GHz, and from -71000 to 7300 rad m-2 between 43 and 86 GHz, respectively. The frequency dependency of RM was investigated, yielding a mean power-law index, a, of 2.0. This implies that the polarized emission from S5 0716+714 at 22-86 GHz moves through a Faraday screen in or near the jet of the source.

• 한국정보디스플레이학회:학술대회논문집
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• 2008.10a
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• pp.993-994
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• 2008

Electrochromic (EC) devices are capable of reversibly changing their optical properties upon charge injection and extraction induced by the external voltage. The characteristics of the EC device, such as low power consumption, high coloration efficiency, and memory effects under open circuit status, make them suitable for use in a variety of applications including smart windows and electronic papers. Coloration due to reduction or oxidation of redox chromophores can be used for EC devices (e-paper), but the switching time is slow (second level). Recently, with increasing demand for the low cost, lightweight flat panel display with paper-like readability (electronic paper), an EC display technology based on dye-modified $TiO_2$ nanoparticle electrode was developed. A well known organic dye molecule, viologen, was adsorbed on the surface of a mesoporous $TiO_2$ nanoparticle film to form the EC electrode. On the other hand, ZnO is a wide bandgap II-VI semiconductor which has been applied in many fields such as UV lasers, field effect transistors and transparent conductors. The bandgap of the bulk ZnO is about 3.37 eV, which is close to that of the $TiO_2$ (3.4 eV). As a traditional transparent conductor, ZnO has excellent electron transport properties, even in ZnO nanoparticle films. In the past few years, one-dimension (1D) nanostructures of ZnO have attracted extensive research interest. In particular, 1D ZnO nanowires renders much better electron transportation capability by providing a direct conduction path for electron transport and greatly reducing the number of grain boundaries. These unique advantages make ZnO nanowires a promising matrix electrode for EC dye molecule loading. ZnO nanowires grow vertically from the substrate and form a dense array (Fig. 1). The ZnO nanowires show regular hexagonal cross section and the average diameter of the ZnO nanowires is about 100 nm. The cross-section image of the ZnO nanowires array (Fig. 1) indicates that the length of the ZnO nanowires is about $6\;{\mu}m$. From one on/off cycle of the ZnO EC cell (Fig. 2). We can see that, the switching time of a ZnO nanowire electrode EC cell with an active area of $1\;{\times}\;1\;cm^2$ is 170 ms and 142 ms for coloration and bleaching, respectively. The coloration and bleaching time is faster compared to the $TiO_2$ mesoporous EC devices with both coloration and bleaching time of about 250 ms for a device with an active area of $2.5\;cm^2$. With further optimization, it is possible that the response time can reach ten(s) of millisecond, i.e. capable of displaying video. Fig. 3 shows a prototype with two different transmittance states. It can be seen that good contrast was obtained. The retention was at least a few hours for these prototypes. Being an oxide, ZnO is oxidation resistant, i.e. it is more durable for field emission cathode. ZnO nanotetropods were also applied to realize the first prototype triode field emission device, making use of scattered surface-conduction electrons for field emission (Fig. 4). The device has a high efficiency (field emitted electron to total electron ratio) of about 60%. With this high efficiency, we were able to fabricate some prototype displays (Fig. 5 showing some alphanumerical symbols). ZnO tetrapods have four legs, which guarantees that there is one leg always pointing upward, even using screen printing method to fabricate the cathode.

• Journal of radiological science and technology
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• v.33 no.3
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• pp.289-294
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• 2010

The purpose of this study is an evaluation of the performance of a detector under radiographic irradiation condition by fabricating the polycrystalline $HgI_2$ film detector. The polycrystalline $HgI_2$ film detectors with thickness of 210 and $320\;{\mu}m$ were fabricated by screen print technology. Measurements of X-ray sensitivity and dark current were performed for two detectors. And measurements of the linearity of X-ray response and reproducibility were performed for the detector of thickness $320\;{\mu}m$. For applied electric field strengths from 0.05 to $2\;V/{\mu}m$ to the detector of thickness $320\;{\mu}m$, the X-ray sensitivities were measured from 233 to $1,408{\times}106\;electrons/mR{\cdot}mm^2$. And the dark currents were measured from 3.2 to $118\;pA/mm^2$. Compared with values reported by Zhong Su et al., the X-ray sensitivities exhibit about two times larger than the X-ray sensitivities measured by Zhong Su et al. And the dark currents exhibit about nine times larger than the dark currents measured by Zhong Su et al. The linearity of X-ray response acquired 0.988 as a coefficient of correlation (r). Reproducibility acquired 0.002 as a coefficient of variation. This study provides the performance data of fabricated polycrystalline $HgI_2$ film detector available for an active matrix flat panel imager under radiographic irradiation condition.

• Smart Media Journal
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• v.5 no.4
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• pp.96-102
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• 2016

The purpose of this study is to investigate the transformation of affordance in iOS GUI design and the relationship of affordances. We figured out variety kinds of Affordance concepts and choosed six Affordances(Visceral, Behavioral, Reflective, Explicit, Metaphorical, Pattern Affordance) Based on the previous studies. The result of investigating the transformation of iOS GUI design which based on the viewpoint of these 6 Affordance we have chosen is as follows. Firstly, the Visceral Affordance of iOS GUI design has already sufficiently become to the Reflective Affordance. So we can ignore or ellipsis the Visceral Affordance and the addition of specific Explicit Affordance can be possible. Secondly, due to the use experience of iOS, Behavioral Affordance and Pattern Affordance have already become to a kind of Reflective Affordance. Through this evolution, new kind of Pattern Affordance is formed. At the mean time, it also applied the basic field of Metaphorical Affordance. Thirdly, investigating the Flat Design of iOS based on the viewpoint of Affordance, we have figured out that Visceral Affordance has been reduced. So that the constrains of visual performance has also been reduced. This is the reason that there are more space remained in screen layout design, the color has become more natural and more Explicit Affordance has been provided, ect. Futhermore, in this thesis we have also figured out that there are some interactions and relationships between each Affordance. With the development of iOS, some Affordances have transformed to other Affordances. With the accumulation of use experience, Visceral Affordance has transformed to Reflective Affordance based on the field of Metaphorical Affordance. With the disappearance or reduction of Visceral Affordance, iOS provide Explicit Affordance instead. As a result of this kind of process, a new Pattern Affordance has been formed.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.24 no.3
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• pp.153-166
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• 1991

Laver is sea weeds that might have been eaten by Korean people since ancient times. The begining of laver culture is not known exactly, but it appears to be prehistoric age. Some laver culture complexes have been built in southern coastal sea of Korea around 1910. This paper was considered about the origin and development process of Korean laver culture industry by investigating Korean and Asian old books concerned. The results are as follows. 1. According to the Korean old books ralated, the name of laver is classified into 10kinds. Gim and Hae-I were called by Korean. Gim means weeds and Hae-I means the manufactured laver by cutting and drying like paper sheet. Ja-Chae and Hae-Tae are come from Chinese, however they are commonly called by Korean, Japanese and Chinese. Rest six names are come from Chinese botany. 2. As Chinese used laver as medicine for wen, scrofula, fever, vomiting, diarrhoea and. so on, they didn't regard it as foods and took into account an warning by Chinese botany that they could take ill when overeating it. On the other as Korean people have eaten it with pleasure nevertheless the Chinese warning, various foods using laver have been developed. The typical food is rice covering laver sheet. It is also popular to Japanese. 3. Laver culture can be carried out in all coastal seas around Korean peninsula, the best sea area for it is the middle west of south sea. 4. Seopkkoji type is a laver culture method that when branches of tree are put in tidal flat laver sporules are attached and gronm on them. It was begun by Hae-Jak Kun(a group of fishery slaves) on Kwang-Yang bay the most suitable for. laver growth at the beginning of King $Sung-long(1469{\~}1481)$. It is assumed that when Hae-Jak Kun set Oe-Jeon(a sort of fixing fishing gear) to catch tributary fish for king, they could find grown laver attached on Oe-Jeon and invent Seopkkoji type for exclusive laver culture. That was carried out 200 fears earlier than in Japan. Dde-Bal type is more advanced and productive laver culture method with thinly spilt bamboo tied like screen(one end fixed on bottom and other end set free in water), It is assumed that Dde-Bal type was begun in Wan-Do county in King Chull-Jong(1830). All laver culture methods developed were transfered to Japan.

• Journal of the Institute of Electronics and Information Engineers
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• v.51 no.12
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• pp.189-194
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• 2014

In this study, from a new x-ray detector that combines a columnar CsI:Na scintillation layer with a photosensitive mercuric iodide layer was investigated. In this structure, X-rays are converted into visible light on a thick CsI:Na layer, which is then converted to electric charges in a thin $HgI_2$ bottom layer. The thin coplanar mercuric iodide films as a photosensitive converter requiring only a few tens of volts of bias, associated with a thick columnar coating of phosphor layer, were simulated and designed. The results of this research suggest that the new coplanar x-ray detector with a hybrid-type structure can resolve the following problems: high voltage from the a-Se, and low conversion efficiency from the indirect conversion method. The results of this research suggest that the new CsI:Na/$HgI_2$ x-ray detector with a double-layer type structure can resolve the following problems: high voltage from the direct conversion method, and low conversion efficiency from the indirect conversion method.

• Clean Technology
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• v.18 no.1
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• pp.69-75
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• 2012

In this study, we executed an environmental impact assessment about recycling of ITO (Indium Tin Oxide), used for touch panel. ITO is mainly used to make transparent conductive coatings for touch and flat screen LCD (Liquid Crystal Display), ELD (Emitting Light Device), PDP (Plasma Display Panel). This demand is increasing little by little. but form current status, ITO is discarded than recycling. It is important to recycling ITO for national strategies about resource conservation, and reduce environmental burden. Also Landfill or incineration of ITO cloud be harmful to the human health in the long-term. Material Life Cycle Assessment method (MLCA) was conducted for comparison landfill and recycling of ITO. MLCA would provide more information for environmental issues and potential environmental impacts of ITO. The study includes two scenarios, the basic scenario is recycling of ITO (10, 20, 30%) and the other scenario is landfill of ITO. In addition, amount of carbon dioxide and energy were calculated.

• Cartoon and Animation Studies
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• s.39
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• pp.133-156
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• 2015

With development of media and technology animation are seeking a variety of a genre fusion. I would like to propose a new animation screening method using a projection mapping and a popup book. I redesigned the existing method of watching the animation to a new experience by projecting the image on a three-dimensional structure instead a flat screen. This screening method was inspired by preceded works which were made by the fusion of a projection mapping and a popup book. Through analysis of them, I found the merits, shortcomings and clarified the difference of each works. I called this method "Hybrid Animation Theater" because it is fused the various areas - Theater, Projection mapping, Pop-up book, Animation, and Installations, etc. also studied for its architectural features and design. After I designed a prototype to demonstrate the possibilities, the limitations and shortcomings, I could suggest next research directions.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.