• Journal of the Korea Institute of Information Security & Cryptology
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• v.16 no.5
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• pp.93-106
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• 2006

With the rapid growth of the wireless Internet communication, a new generation of mobile devices have made possible the broad distribution of mobile digital contents, such as image, music, video, games and applications over the wireless Internet. Mobile devices are rapidly becoming the major means to extend communication channels without copy Protection, usage rule controlling and authentication. As a result, mobile digital contents may be illegally altered, copied and distributed among unauthorized mobile devices. In this paper, we take a look at Open Mobile Alliance (OMA) DRM v2.0 in general, its purpose and function. The OMA is uniquely the focal point for development of an open standard for mobile DRM. Next we introduces features for an active content and illustrates the difference between an active content and an inactive content. Enabling fast rendering of an active content, we propose an OMA-based DRM framework. This framework include the following: 1) Extending DCF Header for supporting an selective encryption, 2) Content encryption key management, 3) Rendering API for an active content. Experimental results show that the proposed framework is able to render an active content fast enough to satisfy Quality of Experience. %is framework has been proposed for a mobile device environment, but it is also applicable to other devices, such as portable media players, set-top boxes, or personal computer.

• International Journal of Computer Science & Network Security
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• v.22 no.10
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• pp.17-24
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• 2022

The article proves that the main goal of informatization of higher education institutions in the EU countries is to improve the quality of education of future specialists by introducing digital educational resources into the education process. The main tasks of informatization of education are defined. Digital educational resources are interpreted as a set of data in digital form that is applicable for use in the learning process; it is an information source containing graphic, text, digital, speech, music, video, photo and other information aimed at implementing the goals and objectives of modern education; educational resources on the Internet, electronic textbooks, educational programs, electronic libraries, etc. The creation of digital educational resources is defined as one of the main directions of informatization of all forms and levels of Education. Types of digital educational resources by educational functions are considered. The factors that determine the effectiveness of using digital educational resources in the educational process are identified. The use of digital educational resources in the training of future specialists in the EU countries is considered in detail. European countries note that digital educational resources in professional use allow you to implement a fundamentally new approach to teaching and education, which is based on broad communication, free exchange of opinions, ideas, information of participants in a joint project, on a completely natural desire to learn new things, expand their horizons; is based on real research methods (scientific or creative laboratories), allowing you to learn the laws of nature, the basics of techniques, technology, social phenomena in their dynamics, in the process of solving vital problems, features of various types of creativity in the process of joint activities of a group of participants; promotes the acquisition by teachers of various related skills that can be very useful in their professional activities, including the skills of using computer equipment and various digital technologies.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

• Journal of Intelligence and Information Systems
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• v.21 no.3
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• pp.19-36
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• 2015

Social media is an emerging issue in content services and in current business environment. YouTube is the most representative social media service in the world. YouTube is different from other conventional content services in its open user participation and contents creation methods. To promote a content in YouTube, it is important to understand the diffusion phenomena of contents and the network structural characteristics. Most previous studies analyzed impact factors of contents diffusion from the view point of general behavioral factors. Currently some researchers use network structure factors. However, these two approaches have been used separately. However this study tries to analyze the general impact factors on the view count and content based network structures all together. In addition, when building a content based network, this study forms the network structure by analyzing user comments on 22,370 contents of YouTube not based on the individual user based network. From this study, we re-proved statistically the causal relations between view count and not only general factors but also network factors. Moreover by analyzing this integrated research model, we found that these factors affect the view count of YouTube according to the following order; Uploader Followers, Video Age, Betweenness Centrality, Comments, Closeness Centrality, Clustering Coefficient and Rating. However Degree Centrality and Eigenvector Centrality affect the view count negatively. From this research some strategic points for the utilizing of contents diffusion are as followings. First, it is needed to manage general factors such as the number of uploader followers or subscribers, the video age, the number of comments, average rating points, and etc. The impact of average rating points is not so much important as we thought before. However, it is needed to increase the number of uploader followers strategically and sustain the contents in the service as long as possible. Second, we need to pay attention to the impacts of betweenness centrality and closeness centrality among other network factors. Users seems to search the related subject or similar contents after watching a content. It is needed to shorten the distance between other popular contents in the service. Namely, this study showed that it is beneficial for increasing view counts by decreasing the number of search attempts and increasing similarity with many other contents. This is consistent with the result of the clustering coefficient impact analysis. Third, it is important to notice the negative impact of degree centrality and eigenvector centrality on the view count. If the number of connections with other contents is too much increased it means there are many similar contents and eventually it might distribute the view counts. Moreover, too high eigenvector centrality means that there are connections with popular contents around the content, and it might lose the view count because of the impact of the popular contents. It would be better to avoid connections with too powerful popular contents. From this study we analyzed the phenomenon and verified diffusion factors of Youtube contents by using an integrated model consisting of general factors and network structure factors. From the viewpoints of social contribution, this study might provide useful information to music or movie industry or other contents vendors for their effective contents services. This research provides basic schemes that can be applied strategically in online contents marketing. One of the limitations of this study is that this study formed a contents based network for the network structure analysis. It might be an indirect method to see the content network structure. We can use more various methods to establish direct content network. Further researches include more detailed researches like an analysis according to the types of contents or domains or characteristics of the contents or users, and etc.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.322-326
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• 2006

Though human being has ability to percept a full colored vision, the technology of early photography only can produce black and white images. For cinema filming imagery also captured mono tone with black and white, until developed a color film technology. The desire for presenting color imagery and the technique for producing film and color ink, photography and print utilize color on it with noticeable color impact to viewers. It, however, abusing fun colors image each and every printed and filmed imagery, the freshness of eye catching power diminished now. On contrast, color becomes black and white or partially used for making discrepancy among full colored images. This image detected commercial and music video, and it spread to film. To use those bleached color images is for evoking a nostalgia and a visual differentiation. Especially, it can be provocative images brought to audience with that. such as "Anycall", "Dimchae" for CF, and "Schindler's list," and "Sin city" for movie. It is hard to investigate on the color studies for partially used images. Therefore, this study is to research that through CF and film, base on it, to investigate the application for this image. To collect data from survey, it will be established a basic concept for understanding the partial color applying.

• Korean Journal of Health Education and Promotion
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• v.20 no.2
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• pp.35-61
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• 2003

Background： The purpose of this study was to develop a structured and individualized smoking prevention program for adolescents by utilizing a multimedia computer-assisted instruction model and to empirically assess its effect. Method： For the purpose of this study, a guide book of smoking prevention program for middle and high school students was developed as the first step. The contents of this book were summarized and developed into an actual multimedia CAI smoking prevention program according to the Gane ＆ Briggs instructional design and Keller's ARCS motivation design models as the second step. At the final step, the short-tenn effects of this program were examined by an experiment. This experiment were made for middle school and high school students and the quasi experimental design was the pretest - intervention - posttest. The measured data was attitude, belief, and knowledge about smoking, interest in the program, and learning motivation. Result： The results of this study were as follows： First, the guide book of a smoking prevention program was developed and the existing literature on adolescent smoking was analyzed to develop the content of the guide book. Then the curriculum was divided into three main domains on tobacco and smoking history, smoking and health, adolescent smoking and each main domain was divided into sub-domains. Second, the contents of the guide book were translated into a multimedia CAI program of smoking prevention througn Powerpoint software according to the instructional design theory. The characteristics of this program were interactive, learner controllable, and structured The program contents consisted of entrance(5.6％), history of tobacco(30％), smoking and health(38.9％), adolescent smoking(22.2％), video(4.7％), and exit(1.6％). Multimedia materials consisted of text(121), sound and music, image(still 84, dynamic 32), and videogram(6). The program took about 40 minutes to complete. Third, the results on analysis of the program effects were as follows： 1) There was significant knowledge increase between the pre-test and post-test with total mean difference 3.44, and the highest increase was in the 1st grade students of high school(p＜0.001). 2) There was significant decrease in general belief on smoking between the pre-test and post-test with total mean difference 0.28. In subgroup analysis, the difference was significantly higher in the 1st grade of high school (p<0.001), low income class (p<0.001), and daily smokers (p<0.01). 3) There was no significant difference in attitudes on his personal smoking between the pre-test and post-test. 4) The interest in the program seemed to lower as students got older. The score of motivation toward this prevention program was the highest in the middle school 3rd grade. Among sub-domains of motivation, the confidence score was the highest. Conclusion： To be most effective, the smoking prevention program for adolescents should utilize the most up-to-date and accurate information on smoking, and then instructional material should be developed so that the learners can approach the program with enjoyment. Through this study, a guide book with the most up-to-date information was developed and the multimedia CAI smoking prevention program was also developed based on the guide book. The program showed positive effect on the students' knowledge and belief in smoking.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• Korean Association of Arts Management
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• no.53
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• pp.5-45
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• 2020

This study aims to deeply analyze the subjective attitude of jazz performance audiences in Korea using Q methodology. In order to establish a population for the research, we decided 'People's mind about jazz performances' as the main topic and finally selected a Q model consist of 38 statements after having a depth interview with corresponding experts. Additionally, from January to February 2019, we implemented a Q-sorting and individual interview to total of 27 people including people majored in music, jazz club members and other citizens. The result were the following. First of all, a musical-interest oriented type. People of this type understood watching jazz performance as a daily leisure activity and went to watch a show more than once a month on overage. Those people obtained information of performances and actors before attending a show using social network such as SNS and jazz clubs. They also had a big desire to have an emotional interaction with jazz musicians while having a fan signing event or performance. Secondly, a general-interest oriented type. This type of people had a tendency of considering watching a jazz performance as a especial experience and not a daily life event. Attending a jazz performance was a novel experience which could be done with their close friends in a special day. Thirdly, people with self-value oriented type. This people were majored in jazz and classic in their universities. As they had a concrete perspective, professional knowledge and experiences, they were more sensitive on the general quality of the performances such as show's sound, light, video, sound system of the theater, player's ability, level of facilities, accessibility, etc. rather than the reputation of an artist. This research did not only revealed jazz audience's subjective tendency using Q methodology but also demonstrated the types of jazz audiences and their characteristics. Therefore, this could be a meaningful study for suggesting a significant implication for the marketing mix of performance planning on each jazz audience type.