• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of Korea Water Resources Association
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• v.31 no.4
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• pp.459-467
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• 1998

The existing methods to analyze the heterogeneous porous media based on the similar media concept are the microscopic Miller similitude(MiS), the macroscopic Miller similitude(MaS) and the Warrick similitude(WS). The inter-relationship is found such that MiS ⊂ MaS ⊂ (⊂:subset). The proposed method is based ont eh assumption that the scale variables $\alpha$=w and the moisture content is dimensionless by introducing the effective degree of saturation instead of the degree of saturation into WS. The method, without the loss of generality in view of the inspectional analysis, can explain the heterogeneity of the media by using the scale variable $\alpha$ only. The media of $\alpha$=1 (average of $\alpha$) means the equivalent media corresponding to the heterogeneous media, while the standard deviation of $\alpha$ may explain the degree of the heterogeneity of the media under consideration. The hydraulic conductivity of the media with $\alpha$>1 is greater than that of the equivalent media, and the effective moisture content of the media with $\alpha$>1 is also greater. Based on these properties of the scale variable $\alpha$, the ideal vertical one-dimensional heterogeneous porous media is generated by using the technique of random number generation.

• Korean Journal of Oriental Medicine
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• v.18 no.1
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• pp.45-52
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• 2012

Objectives : Our study aims to provide a collaborative Internet terminology dictionary like Wikipedia, where about 30,000 concept terminologies with respect to traditional Korean medicine (TKM) are shared and TKM experts can edit the terminologies. Methods : The concept terminologies have been collected and refined for three years by the terminology management system, a custom-made software built upon the Oracle database, where each terminology is divided and normalized into one or more tables. The operation of Wikipedia depends on MediaWiki, a free and open source wiki software built upon the MySQL database. The database schema of our terminology management system is different from that of MediaWiki so that MediaWiki cannot used as our terminology dictionary. Thus, we propose a way to share and edit TKM terminologies with wiki-like user interface. Results : We devise a new terminology dictionary system to search and edit terminology upon the database of the terminology management system. The online terminology dictionary of TKM has the user interface and functions which is similar to Wikipedia to support collaborative works. Conclusions : Wikipedia is operated on MediaWiki which is can be downloaded and used freely under the GNU General Public License. However, there occur problems to use MediaWiki upon the legacy system. Thus, other wiki projects start, they should be considered.

• Fashion & Textile Research Journal
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• v.22 no.4
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• pp.481-494
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• 2020

This study examined consumer perceptions and consumer responses of Halal cosmetics and compared them with vegan cosmetics, which is a term similarly used. Twitter API of Python 3.7 was used to collect the keywords '#halalcosmetics' and '#vegancosmetics'. First, the main perception of consumers on Halal cosmetics focused on the original concept, image, expected efficacy, and factors to consider before purchase, religious keywords, labels and packaging for Halal cosmetics. Second, the main consumer perception of vegan cosmetics was the product concept, expected efficacy, factors to consider before purchase, related vegan industry, image, and vegan cosmetic components. Third, the consumer perceptions of Halal cosmetics and vegan cosmetics were similar in multiple ways, and both concepts included the Cruelty-free concept. Fourth, consumer satisfaction factors included cosmetics color, brand's consumer service, efficacy, smell, packaging design, reasonable price, effects, and formulation of cosmetics as well as satisfaction with Halal certification, and satisfaction of Vegan consumers. Consumer dissatisfaction factors included smell, flavor, delay in shipping, dissatisfaction with formulation, discrepancy between actual color and computer screen, concern and distrust about the use of prohibited ingredients for Halal products. This study examined consumer perceptions and reactions to Halal and vegan cosmetics to create basic knowledge for niche markets that are emerging as an ethical beauty consumption trend.

• Journal of the Semiconductor & Display Technology
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• v.19 no.1
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• pp.6-10
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• 2020

Unlike modern photography technology, in the early days, efforts to physically compose an image with a concept similar to the current photograph have not been popular or commercially successful. The limitation of the use of images as artistic media or recordings has reached the stage of introducing the technology of image analysis to automate the function that humans recognize and judge through vision. In addition, the accuracy of the image has exceeded the human visual ability, enabling the technology that enables the step of recognizing and informing the fact that the human is not aware of it. Based on such a base, the range that can be applied through the image data in the future era can be said to be unpredictable, and the technology that targets large scale image database instead of an image is also expanding the possibilities as a new application technology. In order to identify a particular image from a massive database, different methodologies have been introduced. In this paper, we discuss image identifier production methods based on multi-resolution pyramid.

• Journal of Pharmaceutical Investigation
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• v.36 no.3
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• pp.161-167
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• 2006

The objective of this study was to investigate the dissolution patterns of variety of orally administered drug products available on the market. It aimed to understand their dissolution behaviors on the basis of the biopharmaceutics classification system (BCS) concept. On the tenets of BCS, several active pharmaceutical ingredients were selected: fluoxetine hydrochloride (class I), naproxen sodium (class ll), pyridostigmine bromide (class III), furosemide (class IV) and simvastatin (class IV). Typical dissolution media used in this study were pH 1.2, pH 4 & 6.8 phosphate buffers, and water. In cases, particular dissolution media specified in the KP and/or USP were used. Dissolution patterns of fluoxetine hydrochloride and pyridostigmine bromide products were characterized by their rapid release In addition, their dissolution characteristics were relatively unaffected by the type of a dissolution medium. Similar dissolution patterns were observed with pH 1.2, pH 4 & 6.8 phosphate buffers and water. By sharp contrast, poor dissolution patterns were noticed with naproxen sodium products, when pH 1.2 and pH 4 phosphate buffer were used. Improvements in its dissolution were achieved by switching the dissolution media to pH 6.8 phosphate buffer or water. Unsatisfactory dissolution data also were observed with a simvastatin product, when it was subject to dissolution tests by use of a surfactant-free pH 1.2, pH 4 & 6.8 phosphate buffers and water. All the release patterns reported in this study were best understood when BCS concepts were implemented. Our results demonstrated that a BCS-based drug classification should be considered first to choose a dissolution test/method and set up dissolution specification.

• The Journal of Art Theory & Practice
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• no.15
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• pp.83-109
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• 2013

The study mainly discusses appreciation of interactive art works seen from the perspective of play attributes that make spectators glimpse the truth of things. The general studies of interactivity, as one of remarkable features in contemporary art, are regarding the relation between the effects of digital media and interactivity as well as video games. From the preceding discussion, I analyze the effects of the appreciating interactive art works which are focused on new sensory systems, the methods to intuit the essence of the art works. Based on the concept, as I investigate the play attributes found in the interactive art works, this study gives attention to the possibility that if the spectators can reach the inherent aspects of interactive art works, while interacting them. Thus to discuss the properties of the play, this article studies play concept of Johan Huizinga(1872-1945), psychologist and anthropologist and play theory of Hans Georg Gadamer(1900-2002) who considers play as a metaphor for art. As Huizinga thinks acting is the important attribute of play, Gadamer argues whenever the term 'play' is used, we should think about 'to-and tro movement' and the movement is absence of goal as well as endlessly renews through repetition. Then what we should pay attention to, seeing the essence of art and play as similar? That is, Gadamer claims, we can understand the truth of things through the play. To apply the play concept to the interactive art works, I research the works of Maurice Benayoun(1957 - ), French interactive artist. By employing interactivity, he attempts to extend and affect the experience of his art works to one of social phenomenon. Striving this, spectators can widen and deepen the breadth of their intuition and recognize the essence of art works. It is the interactive art works that can be the apex of the transformation of structure from the play to the art. The endless repetitive process of play, which is free creation-annihilation process, is similar with the interactive experience of spectators that is variable, de-centered, and multi-sensory. The pure action of the play lets us recognize, sense and accept the world and through the system of interactive art experience, we can expand the horizons of perception. Interactive art works with these play attributes are capable of playing the role that the spectators glimpse the truth of things and experience the world around them.

• Journal of the Korea Furniture Society
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• v.21 no.5
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• pp.380-391
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• 2010

Modular furniture's colors, materials, finishing materials and quantities are determined by users' tastes and it's diverse functions, shapes and sizes are determined by the spaces of users. That is, modules satisfy the diversity of consumers, meet differentiated individuals' tastes and enable communications with consumers rather than delivering one-way messages of designers. The contemporary spaces of the 21st century have been gradually shifting from uniform spaces attaching weight on individuals' individuality and tastes and along with it, the consumption of expensive custom-made furniture and foreign branded furniture is increasing to satisfy those small numbers of consumers who want to express diversified individuality. The modular furniture as a concept which is the most suitable to Mass Customization can be produced in large quantities while considering the diverse needs and tastes of individuals and it does not have absolute shapes or sizes. The concept of modular furniture shows similarities to the creation of fractals that forms shapes by self similarities, repeats and similar transformations which is in the same context as the characteristics of a modular design that presents diversity with scales, materials and jointing points. Fractals will be combined with the digital media of today to present great plasticity and influence designers more heavily. Pursuit of new modeling is a requisite for the creation of future spaces and it will require continuous creativity and the transformable modular furniture will contribute to the satisfaction of diverse consumers' needs. This study is to propose the modular furniture that considers the diversity of the public in the 21st century and their individuality and that will enable interactions between designers and consumers.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.110-119
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• 2013

Since the early 20th century photo based art and effort to creative experiment, to pursue the essence of creation to escape from stereotypes between form and media, expression and technology, has been continued persistently. Photomontage was born as an artistic attempt for the new representation. Basically photomontage is configured to visually emphasize the message as a work to produce new meaning by combining the various images that are intentionally selected. The photomontage as a visual art, dialectic of text and image that is to pursue a new format to be out the concept already existing, have been developed, the concept is similar to the modern multiple art. The value of photo montage is to explore of the photo, not limited to describe or reproduce as a deformation, the new possibilities for creative expression and the experience of the day-to-day operation for the implementation of the scheme.

• Journal of KIISE:Software and Applications
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• v.31 no.2
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• pp.203-212
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• 2004

The watermarking is a method to achieve the copyright protection of multimedia contents. Among several media, the left documents show very peculiar properties: block/line/word patterning, clear separation between foreground and background areas. So algorithms specific to the text documents are required that meet those properties. This paper proposes a novel watermarking algorithm for the grayscale text document images. The algorithm inserts the watermark signals through the edge direction histograms. A concept of sub-image consistency is developed that the sub-images have similar shapes in terms of edge direction histograms. Using Korean, Chinese, and English document images, the concept is evaluated and proven to be valid over a wide range of document images. To insert watermark signals, the edge direction histogram is modified slightly. The experiments were performed on various document images and the algorithm was evaluated in terms of imperceptibility and robustness.