• The Journal of the Korea Contents Association
• /
• v.12 no.6
• /
• pp.21-31
• /
• 2012

The virtual reality consists of a virtual space constructed similar to the reality and agents residing in it. Our virtual space refers to an orderly space that is governed by such physical properties as mass, gravity, friction, and associated rules on top of the usual visual rendering. To construct this virtual world we are to develop virtual agents behaving like humans and the environment surrounding them. In order to improve the existing reactive agents designed to act to their designers' dictation in predetermined space or memory into autonomous agents, we need diverse kinds of knowledge among others related to the spaces for the agents to act in. Our design and implementation focuses on the spatial knowledge among those diverse aspects of knowledge required. The developed knowledge representation scheme is used on a basis for realistic and efficient physical cyber-environment, and as the knowledge structure to simulate the virtual agents' knowledges on spaces.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.3
• /
• pp.185-190
• /
• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.34 no.12
• /
• pp.39-48
• /
• 2018

In modern architecture, the concept is the central axis of the design process, but it is not yet a building. The concept is modified in the process of realization because it captures only a part of reality. However, in the works of some Japanese architects, the concept seems to have become almost a building. In this study, I tried to find the cause of such a contradictory situation centering on House N of Fujimoto Sou, which is a representative architect of such tendency. Specifically, I analyzed the concept of House N by dividing it into aspects of function and representation. The reason for this was to see if the functional aspects of the concept were not modified in the first place, or if the representational aspects of the concept covered the functional aspects. For this purpose, I used WLVAE, which is a visual analysis tool, to analyze the functions of design concepts, along with the analysis of photographs, drawings, and diagrams. As a result of the analysis, House N was also modified to conditions of reality in the process of building, but the initial purity was emphasized in the representation of the concept, so that the building seemed to be very conceptual. This fact suggests that the architect has divided the functional and representational aspects of the concept and has focused on the latter. In conclusion this can be seen as an expression of the architect's interpretation of the relationship between the house and the city through the building.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.1
• /
• pp.496-501
• /
• 2021

The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.

• KSII Transactions on Internet and Information Systems (TIIS)
• /
• v.16 no.6
• /
• pp.1973-1993
• /
• 2022

Model-driven engineering (MDE) and aspect-oriented software development (AOSD) contribute to the common goal of development of high-quality code in reduced time. To complement each approach with the benefits of the other, various methods of integration of the two approaches were proposed in the past. Aspect-oriented code generation, which targets obtaining aspect-oriented code directly from aspect models, offers some unique advantages over the other integration approaches. However, the existing aspect-oriented code generation approaches do not comprehensively address all aspects of a model-driven code generation system, such as a textual representation of graphical models, conceptual mapping, and incorporation of behavioral diagrams. These problems limit the worth of generated code, especially in practical use. Here, we propose AJFCode, an approach for aspect-oriented model-driven code generation, which comprehensively addresses the various aspects including the graphical models and their text-based representation, mapping between visual model elements and code, and the behavioral code generation. Experiments are conducted to compare the maintainability and reusability characteristics of the aspect-oriented code generated using the AJFCode with the most comprehensive object-oriented code generation approach. AJFCode performs well in terms of all metrics related to maintainability and reusability of code. However, the most significant improvement is noticed in the separation of concerns, coupling, and cohesion. For instance, AJFCode yields significant improvement in concern diffusion over operations (19 vs 51), coupling between components (0 vs 6), and lack of cohesion in operations (5 vs 9) for one of the experimented concerns.

• Journal of The Korean Association For Science Education
• /
• v.26 no.4
• /
• pp.510-517
• /
• 2006

This study investigated the influences of situational interest, attention, and cognitive effort on drawing as a method to assist students to connect and integrate multiple external representations provided in learning chemical concepts. Seventh graders (N=178) at two coed middle schools were taught about the "Boyle's Law" and the "Charles's Law" for two class hours through drawing. They observed macroscopic phenomena through demonstrations. After these observations, they drew their mental model from the external verbal representation, and then compared their drawings with external visual representation. The tests assessing situational interest, attention, cognitive effort, and conceptual understanding were administered as post-tests. Correlation and path analyses supported a causal model which situational interest had a positive direct effect on attention to the drawing. Attention led to conceptual understanding directly as well as through cognitive effort. These results suggest that situational interest may be induced by drawing first of all, and attention and cognitive effort may be direct causes of conceptual understanding in drawing. Educational implications are discussed.

• Journal of Science of Art and Design
• /
• v.3
• /
• pp.87-144
• /
• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.2
• /
• pp.1-10
• /
• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Journal of Korea Game Society
• /
• v.7 no.4
• /
• pp.71-80
• /
• 2007

In this paper, we introduce an efficient GPU-based real-time rendering technique applicable to every kind of game. Our method, without an extra geometry, can represent terrain just with a height map. It makes it possible to freely go around in the air or on the surface, so we can directly apply it to any computer games as well as a virtual reality. Since our method is not based on any geometrical structure, it doesn't need special LOD policy and the precision of geometrical representation and visual quality absolutely depend on the resolution of height map and color map. Moreover, GPU-only technique allows the general CPU to be dedicated to more general work, and as a result, enhances the overall performance of the computer. To date, there have been many researches related to the terrain representation, but most of them rely on CPU or confmed its applications to flight simulation, Improving existing displacement mapping techniques and applying it to our terrain rendering, we completely ruled out the problems, such as cracking, poping etc, which cause in polygon-based techniques, The most important contributions are to efficiently deal with arbitrary LOS(Line Of Sight) and dramatically improve visual quality during walk-through by reconstructing a height field with curved patches. We suggest a simple and useful method for calculating ray-patch intersections. We implemented all these on GPU 100%, and got tens to hundreds of framerates with height maps a variety of resolutions$(256{\times}256\;to\;4096{\times}4096)$.

• The Journal of the Korea Contents Association
• /
• v.21 no.7
• /
• pp.59-70
• /
• 2021

This paper studies and analyzes the effect of illustrations in picture books on time representation with fictional picture books as the study scope. In this paper, the time type of picture books can be divided into time point, timeline and time rhythm, referring to case analysis from time symbolic elements, picture layout and picture sequence respectively. First of all, time symbolic elements are referred to the time point and time rhythm. The materialized time symbolic element is things that can directly represent time and trigger associations with time; the color symbolic element means the color changes in the real world within a certain time; the contrast of light and shadow corresponds to the changes in a day. Fast-moving objects will be presented with dashed or blurred lines, while static, stable and slow objects will be depicted with solid lines. Secondly, the picture layout of illustrations in picture books is suitable for representing the content of the timeline and describing the sequence or causality of events. Finally, the picture sequence can represent the timeline, time rhythm and "synchronicity". It will make use of visual logic to win readers' trust in time information expressed in pictures, and then follow and connect viewpoints on the basis of adapting to reading habits. The essence of time representation in picture books is to express time by space, and use different combinations of elements in space and visual guidance to convey time information.