• Archives of design research
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• v.17 no.1
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• pp.319-328
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• 2004

The communication environment made by digital technologies has made it possible to exchange information and deliver messages fast and easily among people of various classes in virtual space beyond time and space. Net-generation, who is accustomed to this virtual space, couldn't be satisfied with the linear text-oriented language any more, and began to make signs by use of computers in order to differentiate itself from others and to express its desires. Among the signs, emoticon created by joint of popular culture and digital communication centering around young generation is a new visual sign and emotional sign that can deliver a sender's feelings contained in a message. This paper has studied social phenomena, their relationships with emoticon and background of its creation through documentary review of media development, changes in the communication environment and popular culture. Furthermore, it has analyzed the meaningful action and roles of emoticon as a sign in terms of semiotics and also, studied a possibility of using emoticon as a new emotional sign. The study results say that emoticon can play the roles of a non-linguistic sign just like general signs that make mutual exchange through meaningful action, and also that it can be used to effectively deliver messages not only in virtual space, but also in advertising, posters, magazines and CI. However, emoticon is better at emotional expressions yet than other textual signs or visual signs, but in order to position itself as a universal and popular sign, emotional expressions should be clear, any difference in understanding messages should be removed, and message delivery should be more efficient.

• Journal of Korean Ophthalmic Optics Society
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• v.14 no.3
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• pp.89-93
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• 2009

Purpose: To purpose of this study was the pure-tone audimetry changes to compare pre and post fogging after visual correction in normally hearing adults. Methods: The estimated that no ocular and audiolar disesases, we selected (male: 30, female: 20) in corrected visual acuity over the 1.0 eye. Pre and post fogging were measured using the pure-tone audimetry. Results: To compared fre and post fogging, fre fogging was higher than fre fogging. The take value were just about every kind of Hz but 200 Hz, respectively which were statistically significant (p<.05). Low Hz area in 250 and 500 Hz were 6.8${\pm}$8.4dBHL, 4.3${\pm}$6.6dBHL, there is not all the difference between any other area, 2000 Hz in the middle Hz area was 0.8${\pm}$4.5dBHL. Conclusions: The study presents different results of measurements in within normal limits. we thought that pure-tone thresholds to the pre and post fogging after refractive correction in normal adults and would be used basic data.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of the Korean Institute of Gas
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• v.23 no.4
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• pp.46-64
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• 2019

Technical practice code, KGS GC101 2018, for explosion hazard area selection and distance calculation of gas facility was enacted and implemented from July 12, 2018. This code includes whole contents of IEC60079-10-1 2015 (Explosive atmospheres Part 10-1: Classification of areas - Explosive gas atmospheres), and clarifies the interpretation of ambiguous standards or adds guidelines for standards. KGS GC101 is a method for classifying explosion hazard place types: (1) Determination of leak grade (2) Determination of leakage hole size (3) Determination of leakage flow (4) Determination of dilution class (5) Determination of ventilation effectiveness, finally (6) Determination of danger place (7) Explosion The range of dangerous places can be estimated. In order to easily calculate this process, the program (KGS-HAC v1.14, C-2018-020632) composed by Visual Basic for Application (Excel) language was produced by Korea Gas Safety Corporation. We will discuss how to use codes and programs to select and set up explosion hazard zones for field users.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.47-57
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• 2019

The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.10a
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• pp.360-363
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• 2022

According to the 2018 Kaggle ML & DS Survey, among the proportions of frameworks for machine learning and data science, TensorFlow and Keras each account for 41.82%. It was found to be 34.09%, and in the case of development programming, it is confirmed that about 82% use Python. A significant number of machine learning and deep learning structures utilize the Keras framework and Python, but in the case of Python, distribution and execution are limited to the Python script environment due to the script language, so it is judged that it is difficult to operate in various environments. This paper implemented a machine learning and deep learning system using C# and Keras running in Visual Studio 2019. Using the Mnist dataset, 100 tests were performed in Python 3.8,2 and C# .NET 5.0 environments, and the minimum time for Python was 1.86 seconds, the maximum time was 2.38 seconds, and the average time was 1.98 seconds. Time 1.78 seconds, maximum time 2.11 seconds, average time 1.85 seconds, total time 37.02 seconds. As a result of the experiment, the performance of C# improved by about 6% compared to Python, and it is expected that the utilization will be high because executable files can be extracted.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.13 no.9
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• pp.1964-1972
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• 2009

This paper proposed a distributed web environment for developing robot services using a 4-legged robot and MSRS. The proposed development environment of the robot services enabled a high-level complicated robot application to operate in a distributed web environment by implementing robot functions as services which can be run on network nodes using Microsoft MSRS. The environment has been also implemented using a 4-legged robot, Genibo as a robot platform. In experiment, we showed the developed robot services are enable to be executed and configured dynamically and support a remote monitoring in a distributed web environment. Finally the feasibility and the effectiveness of the proposed environment has been verified by creating a robot application using the developed robot services in Visual Program Language which helps student to create a complicated robot application system easily.

• Science of Emotion and Sensibility
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• v.11 no.4
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• pp.521-530
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• 2008

Graphical user interface design, the visual language to convey information about the icon and the user's information is a medium that can lead to action. Graphical user interface to communicate with the user icon, the user is easy to use, so any time you want to provide information effectively. Communication in order to increase the efficiency of the Graphic User Interface on the nature of the medium must be made to develop the appropriate icon. In this research icon of the type of icon painting. A picture of the icon representation of each type of detail, according to a rating of johyeongjeok identify the elements of the correlation between. On the type of representation of each of Art and Design elements that I know what I saw. The icon design based on user preferences provide guidance on the direction of design-oriented. When the data can be used to designs based on the theory has to offer.

• Journal of the Ergonomics Society of Korea
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• v.31 no.2
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• pp.291-298
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• 2012

Objective: The aim of this study is to predict Korean text entry on touchscreens using ACT-R cognitive architecture. Background: Touchscreen application in devices such as satellite navigation devices, PDAs, mobile phones, etc. has been increasing, and the market size is expanding. Accordingly, there is an increasing interest to develop and evaluate the interface to enhance the user experience and increase satisfaction in the touchscreen environment. Method: In this study, Korean text entry performance in the touchscreen environment was analyzed using ACT-R. The ACT-R model considering the characteristics of the Korean language which is composed of vowels and consonants was established. Further, this study analyzed if the prediction of Korean text entry is possible through the ACT-R cognitive model. Results: In the analysis results, no significant difference on performance time between model prediction and empirical data was found. Conclusion: The proposed model can predict the accurate physical movement time as well as cognitive processing time. Application: This study is useful in conducting model-based evaluation on the text entry interface of the touchscreen and enabled quantitative and effective evaluation on the diverse types of Korean text input interfaces through the cognitive models.