• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• 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.

• Proceedings of the Korean Association of Geographic Inforamtion Studies Conference
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• 2003.04a
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• pp.363-368
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• 2003

We have successfully developed a more effective algorithm to extract the lineament in the area covered by wide alluvial deposits characterized by a relatively narrow range of brightness in the Landsat TM image, while the currently used algorithm is limited to the mountainous areas. In the new algorithm, flat areas mainly consisting of alluvial deposits were selected using the Local Enhancement from the Digital Elevation Model (DEM). The aspect values were obtained by 3${\times}$3 moving windowing of Zevenbergen & Thorno's Method, and then the slopes of the study area were determined using the aspect values. After the lineament factors in the alluvial deposits were revealed by comparing the threshold values, the first rank lineament under the alluvial deposits were extracted using the Hough transform In order to extract the final lineament, the lowest points under the alluvial deposits in a given topographic section perpendicular to the first rank lineament were determined through the spline interpolation, and then the final lineament were chosen through Hough transform using the lowest points. The algorithm developed in this study enables us to observe a clearer lineament in the areas covered by much larger alluvial deposits compared with the results extracted using the conventional existing algorithm. There exists, however, some differences between the first rank lineament, obtained using the aspect and the slope, and the final lineament. This study shows that the new algorithm more effectively extracts the lineament in the area covered with wide alluvlal deposits than in the areas of converging slope, areas with narrow alluvial deposits or valleys.

• Cartoon and Animation Studies
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• s.36
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• pp.469-491
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• 2014

Webtoon has developed the method that makes it possible to express sound visually. Also we can also hear sound in webtoon through the development of web technology. It is natural that we analyze the sound that we can hear, but we can also analyze the sound that we can not hear. This study is based on 'dual code' in cognitive psychology. Cartoonists can make visual expression on the basis of auditive impression and memory, and readers can recall the sound through the process of memory and memory-retrieval. This study analyzes both audible sound and inaudable sound. Concise analysis owes the method to film sound theory. Three main factor, Volume, pitch, and tone are recognized by frequency in acoustics. On the other hand they are expressed by the thickness and site of line and image of sound source. The visual expression of in screen sound and off screen sound is related to the frame of comics. Generally the outside of frame means off sound, but some off sound is in the frame. In addition, horror comics use much sound for the effect of genre like horror film. When analyzing comics sound using this kinds of the method film sound analysis, we can find that webtoon has developed creative expression method comparing with simple ones of early comics. Especially arranging frames and expressing sound following and vertical moving are new ones in webtoon. Also types and arrangement of frame has been varied. BGM is the first in using audible sound and recently BGM composed mixing sound effect is being used. In addition, the program which makes it possible for readers to hear sound according to scroll moving. Especially horror genre raise the genre effects using this technology. Various methods of visualizing sound are being created, and the change shows that webtoon could be the model of convergence in contents.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.14 no.7
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• pp.586-603
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• 2004

One of the subtle problems that make noise control difficult for engineers is “the invisibility of noise or sound.” The visual image of noise often helps to determine an appropriate means for noise control. There have been many attempts to fulfill this rather challenging objective. Theoretical or numerical means to visualize the sound field have been attempted and as a result, a great deal of progress has been accomplished, for example in the field of visualization of turbulent noise. However, most of the numerical methods are not quite ready to be applied practically to noise control issues. In the meantime, fast progress has made it possible instrumentally by using multiple microphones and fast signal processing systems, although these systems are not perfect but are useful. The state of the art system is recently available but still has many problematic issues : for example, how we can implement the visualized noise field. The constructed noise or sound picture always consists of bias and random errors, and consequently it is often difficult to determine the origin of the noise and the spatial shape of noise, as highlighted in the title. The first part of this paper introduces a brief history, which is associated with “sound visualization,” from Leonardo da Vinci's famous drawing on vortex street (Fig. 1) to modern acoustic holography and what has been accomplished by a line or surface array. The second part introduces the difficulties and the recent studies. These include de-Dopplerization and do-reverberation methods. The former is essential for visualizing a moving noise source, such as cars or trains. The latter relates to what produces noise in a room or closed space. Another mar issue associated this sound/noise visualization is whether or not Ivecan distinguish mutual dependence of noise in space : for example, we are asked to answer the question, “Can we see two birds singing or one bird with two beaks?"

• Korean Journal of Cognitive Science
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• v.34 no.3
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• pp.181-196
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• 2023

Size, velocity, and time equivalence are mechanisms that allow us to perceive objects in three-dimensional space consistently, despite errors on the two-dimensional retinal image. These mechanisms work on common cues, suggesting that the perception of motion distance, motion speed, and motion time may share common processing. This can lead to the hypothesis that, despite the spatial nature of visual stimuli distorting temporal perception, the perception of motion speed and the perception of motion duration will tend to oppose each other, as observed for objects moving in the environment. To test this hypothesis, the present study measured perceived speed using Müller-Lyer illusion stimulus to determine the relationship between the time-perception consequences of motion stimuli observed in previous studies and the speed perception measured in the present study. Experiment 1 manipulated the perceived motion trajectory while controlling for the retinal motion trajectory, and Experiment 2 manipulated the retinal motion trajectory while controlling for the perceived motion trajectory. The result is that the speed of the inward stimulus, which is perceived to be shorter, is estimated to be higher than that of the outward stimulus, which is perceived to be longer than the actual distance traveled. Taken together with previous time perception findings, namely that time perception is expanded for outward stimuli and contracted for inward stimuli, this suggests that when the perceived trajectory of a stimulus manipulated by the Müller-Lyer illusion is controlled for, perceived speed decreases with increasing duration and increases with decreasing duration when the perceived distance of the stimulus is constant. This relationship suggests that the relationship between time and speed perceived by spatial cues corresponds to the properties of objects moving in the environment, i.e, an increase in time decreases speed and a decrease in time increases speed when distance remains the same.

• Korean Journal of Poultry Science
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• v.20 no.2
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• pp.107-114
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• 1993

The structure change in the broiler industry of Korea has been taking place very rapidly toward the direction of integrated production and marketing system. During the course of the evolution into the integrated structure, however, a number of small business entities, uncountable nationally but a minimum of a dozen, that previously engaged in the supply of production factors or live bird transaction also tended to get involved in the new system as a disguised or pseudo-integrator, having brought a lot of problems not only to the farmers but also to the development of integrated structure. The pseudo-integrator is generally characterized by limited functions in such a way of supplying chicks and feeds to and collecting grown birds from farmers under the contract at a fixed farmer's payment in practically the same pattern as a partial or quasi-integration, which intends to act as if an integrator in a stratagem to simply enjoy a margin simply from selling supplies and buying products for a certain period of time. The grower making a contract with appears to be a farmer who used to be an Independent and speculating but not able to join in the normal system of evolving integration. The problems of a pseudo-integrator center on the financial loss to a contract farmer, because the falsified integrator has to become easily bankrupt and run away when the price of live broiler continually stays below the cost of production, even though he is able to make a tremendous profit otherwise which is the real purpose of the operation for. It is true that the volatile market, fluctuating the price up more than doubled in a month and down to a half in a few weeks, makes the pseudo-integrator find the room for such a fraudulence. In addition, its activity also adversely affect the evolution of the integration due to rather negative image on structure change in general. It is recommended that the farmers need to better understand the real picture of the integrated system so as not to be swindled by a disguised, small scale agribusiness agent. By the same token, it is also equally required to have the whole industry integrated completely as early as possible. The Joint effort to get rid of pseudo-integrators' problems shall be put for the industry development moving toward the integration. No doubt a pseudo-integrator must be a temporary player for chance emerging during the course of structure change into the integrated, though.

• Journal of the Korean Society for Marine Environment & Energy
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• v.16 no.1
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• pp.1-8
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• 2013

This study focuses on a ship detection and tracking method using Frequency Modulated Continuous Wave (FMCW) radar used for horizontal surveillance. In general, FMCW radar can play an important role in maritime surveillance, because it has many advantages such as low warm-up time, low power consumption, and its all weather performance. In this paper, we introduce an effective method for data and signal processing of ship's detecting and tracking using the X-band radar. Ships information was extracted using an image-based processing method such as the land masking and morphological filtering with a threshold for a cycle data merged from raw data (spoke data). After that, ships was tracked using search-window that is ship's expected rectangle area in the next frame considering expected maximum speed (19 kts) and interval time (5 sec). By using this method, the tracking results for most of the moving object tracking was successful and those results were compared with AIS (Automatic Identification System) for ships position. Therefore, it can be said that the practical application of this detection and tracking method using FMCW radar improve the maritime safety as well as expand the surveillance coverage cost-effectively. Algorithm improvements are required for an enhancement of small ship detection and tracking technique in the future.

• Corrosion Science and Technology
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• v.12 no.1
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• pp.1-6
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• 2013

Recently Digital TV industry has drastically been moving the illuminating system, which causes an obvious product change from PDP and LCD to LED model to provide high-definition image. Due to strong competition in the digital industry, TV manufacturers make a great efforts to reduce production cost by using low-priced materials such as steels instead of aluminum and plastic etc. In this paper we have developed a new low-priced electrogalvanized steel sheet, which has a black resin composite layer, to substitute conventional high-priced PCM steel and plastic mold for rear cover panel in the digital TV. The black resin composite was prepared by mechanical dispersion of the mixture solution that consists of high solid polyester resin, melamine hardener, black pigment, micronized silica paste, polyacrylate texturing particle and miscellaneous additives. The composite solution was coated on the steel sheet using roll coater followed by induction furnace curing and cooling. Although the coated layer has a half thickness compared to the conventional PCM steels having $23{\mu}m$ thickness, it exhibits excellent quality for the usage of rear cover panel. The new steel sheet was applied to test products to get quality certification from worldwide electronic appliance customers. Detailed discussion provides in this paper including preparation of composite solution, roll coating technology, induction curing technology and quality evaluation from customers.

• Journal of Broadcast Engineering
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• v.19 no.6
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• pp.798-809
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• 2014

Video stabilization is performed to remove unexpected shaky and irregular motion from a video. It is often used as preprocessing for robust feature tracking and matching in video. Typical video stabilization algorithms are developed to compensate motion from surveillance video or outdoor recordings that are captured by a hand-help camera. However, since the vehicle video contains rapid change of motion and local features, typical video stabilization algorithms are hard to be applied as it is. In this paper, we propose a novel approach to compensate shaky and irregular motion in vehicle video using linear regression model and vertical projection histogram matching. Towards this goal, we perform vertical projection histogram matching at each sub region of an input frame, and then we generate linear regression model to extract vertical translation and rotation parameters with estimated regional vertical movement vector. Multiple binarization with sub-region analysis for generating the linear regression model is effective to typical recording environments where occur rapid change of motion and local features. We demonstrated the effectiveness of our approach on blackbox videos and showed that employing the linear regression model achieved robust estimation of motion parameters and generated stabilized video in full automatic manner.