• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Science of Emotion and Sensibility
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• v.16 no.2
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• pp.207-220
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• 2013

For video reality improvement, there has been much advancement in the methods of providing visual, auditory, and tactile information. On the other hand, there is little research on olfaction for video reality because it is difficult to define and knotty to manipulate. As a first step for video reality improvement using olfactory information, this research investigated users' acceptability of smell when they watch videos of various kinds and then classified the video clips based on their acceptability of different criteria. To do so, we first selected three questions of whether the scene in the video appears to have an odor (odor presence), whether a matching odor is likely to improve a sense of reality (effect on sense of reality), and whether s/he would like a matching odor to be present (preference for the matching odor). Then after collecting 51 video clips of various genres that would receive either high or low ratings for the questions above, we had participants to watch the videos and rate them for the above three questions on 7-point scale. For video classification, we paired each two questions to construct 2D space to draw scatterplot of video clips where the scales of the two questions represent X or Y axis. Clusters of video clips that locate at different quadrants of the 2D space would provide important insights in providing olfactory information for video reality improvement.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.39 no.3
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• pp.141-148
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• 2021

This paper presents a method to detect zebra-crossing using deep learning which combines SegNet and ResNet. For the blind, a safe crossing system is important to know exactly where the zebra-crossings are. Zebra-crossing detection by deep learning can be a good solution to this problem and robotic vision-based assistive technologies sprung up over the past few years, which focused on specific scene objects using monocular detectors. These traditional methods have achieved significant results with relatively long processing times, and enhanced the zebra-crossing perception to a large extent. However, running all detectors jointly incurs a long latency and becomes computationally prohibitive on wearable embedded systems. In this paper, we propose a model for fast and stable segmentation of zebra-crossing from captured images. The model is improved based on a combination of SegNet and ResNet and consists of three steps. First, the input image is subsampled to extract image features and the convolutional neural network of ResNet is modified to make it the new encoder. Second, through the SegNet original up-sampling network, the abstract features are restored to the original image size. Finally, the method classifies all pixels and calculates the accuracy of each pixel. The experimental results prove the efficiency of the modified semantic segmentation algorithm with a relatively high computing speed.

• Korean Journal of Cognitive Science
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• v.34 no.2
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• pp.85-110
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• 2023

The gaze cueing effect appears as detecting a target rapidly and accurately when the direction of others' gaze corresponds with the location of the visual target. The gaze cue can be affected by the orientation of the face. The gaze cueing effect is strong when the face is presented upright, but the effect has only been observed in some studies when the face is presented inverted(e.g., Tipples, 2005). This study aimed to examine whether the gaze can operate as a cue to guide attention with upright faces, and to add variables that can affect the gaze cue, such as the orientation of the face, the orientation of the background, and a time interval between the gaze cue and the target(SOA). Furthermore, it systematically manipulated these variables to explore whether the gaze cueing effect can be observed under the various conditions. The results showed a significant gaze cueing effect even on the inverted face, contrasting with previous studies. These findings were consistently observed when the background stimulus was absent(Experiment 1) and present(Experiments 2 and 3). However, there was no significant interaction in the orientations between the face and the background. Moreover, in the short SOA(150 ms), we found a significant gaze cueing effect in conditions of every face and background orientation, whereas there was no significant gaze cueing effect in the long SOA(1000 ms). By presenting a consistent observation of the gaze cueing effect under the short SOA(150ms) even in the inverted faces, the results of this study pose questions about the reliability and repeatability of previous studies that did not report significant results of gaze cueing effects in that faces. Furthermore, our results are meaningful in providing additional evidence that attention can be guided toward the direction of the gaze even in various directions of the face and background.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.319-331
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• 2020

This study investigated the meaning of absolute music of the first movement of Brahms' symphony No. 1, which was used as film music in the films "Tetro" and "Savages" and interpreted the meaning of this music used in these two films. Therefore, the purpose of this study is to explore the characteristics that classical music can be interpreted ambiguously in films. In particular, it was examined whether film music could be interpreted in a new meaning rather than a program music. The first movement of Brahms' symphony No. 1 is in a sonata form and has the characteristics of a chromatic grammar of the romanticism. In "Tetro", the irony about the value connection between this music and the characters of the film, the composition process of this music and the historicity that appeared in the character story of the film presented important. On the other hand, in "Savages", the chromatic grammar of this music expresses the emotional meaning of the characters in the film and the atmosphere of the event. This can be said to be the role of program music. In particular, the scene in which this music is used at the end of "Tetro" shows an ambiguous characteristic that can interpret a piece of music in different meanings depending on which of the two characters appearing in the film interprets the music from the perspective of the character. And the fact that Brahms spent 21 years to complete this music and that Tetro, the main character of the film, spent about 10 years before going through theatrical scenario and submitting it to the festival in the film, coincide with each other in terms of historicality. This gives the meaning of understanding film music from a new point of view, not from the point of view of absolute music or program music. In addition, this musical setting made the music recognized as an essential element of the film and as an irreplaceable auditory theme. When classical music meets other art such as film, this ambiguity Characteristics of music will have a great influence on the new perception of classical music.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.19 no.2
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• pp.197-214
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• 2024

This study aimed to investigate students' perceptions at science and technology specialized universities towards entrepreneurship support policies and to derive policy improvement measures by applying a bottom-up approach to reflect the requirements of the policy beneficiaries, i.e., the students. Specifically, the research explored effective execution strategies for student entrepreneurship support policies through a survey and analysis of KAIST students. The findings revealed that KAIST students recognize the urgent need for improvement in sharing policy objectives with the student entrepreneurship field, reflecting the opinions of the campus entrepreneurship scene in policy formulation, and constructing an entrepreneurship-friendly academic system for nurturing student entrepreneurs. Additionally, there was a highlighted need for enhancement in the capacity of implementing agencies, as well as in marketing and market development capabilities, and organizational management and practical skills as entrepreneurs within the educational curriculum. Consequently, this study proposes the following improvement measures: First, it calls for enhanced transparency and accessibility of entrepreneurship support policies, ensuring students clearly understand policy objectives and can easily access information. Second, it advocates for student-centered policy development, where students' opinions are actively incorporated to devise customized policies that consider their needs and the actual entrepreneurship environment. Third, there is a demand for improving entrepreneurship-friendly academic systems, encouraging more active participation in entrepreneurship activities by adopting or refining academic policies that recognize entrepreneurship activities as credits or expand entrepreneurship-related courses. Based on these results, it is expected that this research will provide valuable foundational data to actively support student entrepreneurship in science and technology specialized universities, foster an entrepreneurial spirit, and contribute to the creation of an innovation-driven entrepreneurship ecosystem that contributes to technological innovation and social value creation.