• Korean Security Journal
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• no.24
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• pp.53-66
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• 2010

This study aims to analyze kinematic variables regarding lateral break-fall quantitatively that can protect the body, prevent the injury and minimize the impact. To this end, three Hapkido, judo athletes of H University with experience of over 5 years were selected. Test was conducted through three dimensional image analysis by checking the time and order the subjects reach a mat. In this study, lateral break-fall was repeated five times and among them, the best movement was selected. The picture shot with high-speed camera was analyzed by using KWON3D ver. 3.1 program through three dimensional coordinate calculation based on DLT method and smoothing process of data. Study results were as follows. 1. With respect to time variables shown in lateral break-fall of A, B, C athletes, there is small difference in temporal variables and in the order the body reaches a mat. With respect to average value, hand is ($0.94{\pm}0.20$), elbow ($0.97{\pm}0.17$), hip ($0.97{\pm}0.18$), back ($0.98{\pm}0.18$), and shoulder ($1.04{\pm}0.16$). Time variable the body reaches a mat in lateral break-fall is in hand, elbow, hip, back and shoulder. 2. With respect to moving distance variables shown in lateral break-fall of A, B, C athletes, hand is ($34.33{\pm}34.59$), elbow ($52.00{\pm}26.06$), hip ($70.00{\pm}15.72$), back ($153.67{\pm}17.93$), and should ($130.67{\pm}29.02$). The fact that this study contributed to improving security martial arts technique and protecting the body by understanding the principle of lateral break-fall movement is of significance. In addition, the fact that this study provided systematic basic data for improving security martial arts technique is significant.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• Investigative Magnetic Resonance Imaging
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• v.12 no.2
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• pp.123-130
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• 2008

Purpose : Motion effects in parallel magnetic resonance imaging (MRI) are investigated. Parallel MRI is known to be robust to motion due to its reduced acquisition time. However, if there are some involuntary motions such as heart or respiratory motions involved during the acquisition of the parallel MRI, motion artifacts would be even worse than those in conventional (non-parallel) MRI. In this paper, we defined several types of motions, and their effects in parallel MRI are investigated in comparisons with conventional MRI. Materials and Methods : In order to investigate motion effects in parallel MRI, 5 types of motions are considered. Type-1 and 2 are periodic motions with different amplitudes and periods. Type-3 and 4 are segment-based linear motions, where they are stationary during the segment. Type-5 is a uniform random motion. For the simulation, Cartesian and spiral grid based parallel and non-parallel (conventional) MRI are used. Results : Based on the motions defined, moving artifacts in the parallel and non-parallel MRI are investigated. From the simulation, non-parallel MRI shows smaller root mean square error (RMSE) values than the parallel MRI for the periodic (type-1 and 2) motions. Parallel MRI shows less motion artifacts for linear(type-3 and 4) motions where motions are reduced with shorter acquisition time. Similar motion artifacts are observed for the random motion (type-5). Conclusion : In this paper, we simulate the motion effects in parallel MRI. Parallel MRI is effective in the reduction of motion artifacts when motion is reduced by the shorter acquisition time. However, conventional MRI shows better image quality than the parallel MRI when fast periodic motions are involved.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• The Journal of Korean Society for Radiation Therapy
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• v.21 no.1
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• pp.33-39
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• 2009

Purpose: The aim of this study is to compare patient's body posture and its position at the time of simulation with one at the treatment room using On-board Imaging (OBI) and CT (CBCT). The detected offsets are compared with position errors of Rando Phantom that are practically applied. After that, Rando Phantom's position is selected by moving couch based on detected deviations. In addition, the errors between real measured values of Rando Phantom position and theoretical ones is compared. And we will evaluate target position's accuracy of KV X-ray imaging's 2D and CBCT's 3D one. Materials and Methods: Using the Rando Phantom (Alderson Research Laboratories Inc. Stanford. CT, USA) which simulated human body's internal structure, we will set up Rando Phantom on the treatment couch after implementing simulation and RTP according to the same ways as the real radioactive treatment. We tested Rando Phantom that are assumed to have accurate position with different 3 methods. We measured setup errors on the axis of X, Y and Z, and got mean standard deviation errors by repeating tests 10 times on each tests. Results: The difference between mean detection error and standard deviation are as follows; lateral 0.4+/-0.3 mm, longitudinal 0.6+/-0.5 mm, vertical 0.4+/-0.2 mm which all within 0~10 mm. The couch shift variable after positioning that are comparable to residual errors are 0.3+/-0.1, 0.5+/-0.1, and 0.3+/-0.1 mm. The mean detection errors by longitudinal shift between 20~40 mm are 0.4+/-0.3 in lateral, 0.6+/-0.5 in longitudinal, 0.5+/-0.3 in vertical direction. The detection errors are all within range of 0.3~0.5 mm. Residual errors are within 0.2~0.5 mm. Each values are mean values based on 3 tests. Conclusion: Phantom is based on treatment couch shift and error within the average 5mm can be gained by the diminution detected by image registration based on OBI and CBCT. Therefore, the selection of target position which depends on OBI and CBCT could be considered as useful.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• Progress in Medical Physics
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• v.24 no.4
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• pp.243-252
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• 2013

The aim of this study was to clarify the impacts of acquisition parameters on artifacts in four-dimensional computed tomography (4D CT) images, such as the partial volume effect (PVE), partial projection effect (PPE), and mis-matching of initial motion phases between adjacent beds (MMimph) in cine mode scanning. A thoracic phantom and two cylindrical phantoms (2 cm diameter and heights of 0.5 cm for No.1 and 10 cm for No.2) were scanned using 4D CT. For the thoracic phantom, acquisition was started automatically in the first scan with 5 sec and 8 sec of gantry rotation, thereby allowing a different phase at the initial projection of each bed. In the second scan, the initial projection at each bed was manually synchronized with the inhalation phase to minimize the MMimph. The third scan was intentionally un-synchronized with the inhalation phase. In the cylindrical phantom scan, one bed (2 cm) and three beds (6 cm) were used for 2 and 6 sec motion periods. Measured target volume to true volume ratios (MsTrueV) were computed. The relationships among MMimph, MsTrueV, and velocity were investigated. In the thoracic phantom, shorter gantry rotation provided more precise volume and was highly correlated with velocity when MMimph was minimal. MMimph reduced the correlation. For moving cylinder No. 1, MsTrueV was correlated with velocity, but the larger MMimph for 2 sec of motion removed the correlation. The volume of No. 2 was similar to the static volume due to the small PVE, PPE, and MMimph. Smaller target velocity and faster gantry rotation resulted in a more accurate volume description. The MMimph was the main parameter weakening the correlation between MsTrueV and velocity. Without reducing the MMimph, controlling target velocity and gantry rotation will not guarantee accurate image presentation given current 4D CT technology.

• The Korean Journal of Nuclear Medicine
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• v.39 no.3
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• pp.174-181
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• 2005

Purpose: Reduction of respiratory motion artifacts in PET images was studied using respiratory-gated PET (RGPET) with moving phantom. Especially a method of generating simulated helical CT images from 4D-CT datasets was developed and applied to a respiratory specific RGPET images for more accurate attenuation correction. Materials and Methods: Using a motion phantom with periodicity of 6 seconds and linear motion amplitude of 26 mm, PET/CT (Discovery ST: GEMS) scans with and without respiratory gating were obtained for one syringe and two vials with each volume of 3, 10, and 30 ml respectively. RPM (Real-Time Position Management, Varian) was used for tracking motion during PET/CT scanning. Ten datasets of RGPET and 4D-CT corresponding to every 10% phase intervals were acquired. from the positions, sizes, and uptake values of each subject on the resultant phase specific PET and CT datasets, the correlations between motion artifacts in PET and CT images and the size of motion relative to the size of subject were analyzed. Results: The center positions of three vials in RGPET and 4D-CT agree well with the actual position within the estimated error. However, volumes of subjects in non-gated PET images increase proportional to relative motion size and were overestimated as much as 250% when the motion amplitude was increased two times larger than the size of the subject. On the contrary, the corresponding maximal uptake value was reduced to about 50%. Conclusion: RGPET is demonstrated to remove respiratory motion artifacts in PET imaging, and moreover, more precise image fusion and more accurate attenuation correction is possible by combining with 4D-CT.