• Electronics and Telecommunications Trends
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• v.34 no.4
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• pp.65-75
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• 2019

Sensory substitution involves mapping the characteristics of one sensory modality to the stimuli of another sensory modality. In general, when a person is visually impaired or deaf, they do not actually lose their ability to see or hear completely; however, they only lose their ability to transmit sensory signals from the periphery to the brain. It has been experimentally proven that a person who has lost the ability to retrieve data from the retina can still visualize subjective images by using data transferred from other sensory modalities such as tactile or auditory modalities. This is because vision processing pathways are still intact in most cases. Therefore, sensory substitution uses human perception and the plasticity of the human brain to transmit sensory signals through pathways that have not been lost. In this study, we analyze the characteristics and problems of various devices used for sensory substitution and summarize the recent technological trends in these devices.

• Journal of the Korean Society for Precision Engineering
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• v.28 no.6
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• pp.678-686
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• 2011

When one sensor cannot provide information by sensory deficit or loss, the sensory information can be provided by substituting other sensors for the defected sensor. This sensory substation might be influence on the deteriorated motion perception that consists of multi-sensory information such as visual, vestibular and somatosensory information. In this study, to investigate whether the additional sensation by sensory substitution could be integrated into the motion perception, we examined the effect of substituted postural sway sensation on the directional perception of body movement. Deteriorated motion perception by the reduced plantar sensation was enhanced under sensory substitution condition that provided the body sway information as the plantar vibratory stimulus. These results imply that the additional sensation might be integrated into and improve the motion perception.

• Electronics and Telecommunications Trends
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• v.39 no.1
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• pp.74-82
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• 2024

Music is a means of emotional expression and self-expression. In addition, it allows to interact with others and communicate with the world. Music may be considered as inaccessible for people with hearing impairment, who are sometimes discriminated from the music community. We explore trends in various technologies and research that enable everyone to access and enjoy music through experiences that leverage new and innovative technological approaches and bridge the gap between people with and without hearing impairment. Various aspects of haptic systems are being studied, but most of them are performance-oriented and focus only on technical functions. As research matures, more detailed and new studies that converge with various senses are being attempted. These studies will likely evolve into influential research areas that can positively affect the lives of people in terms of accessibility and inclusion by providing detailed functions and stimuli to specific users, including those with hearing impairment.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.13 no.3
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• pp.1-15
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• 2003

${Cachin}^{[1]}$ defined the security of steganography theoretically at first, then ${Katzenbeisser}^{[2]}$ and ${Hopper}^{[3]}$ also discussed it on the different aspects. Unfortunately, because many steganographic systems couldnt overcome the statistical gap between a stego-cover and a pure cover, the secure steganography hasn' been evaluated yet. By the effectivel steganalysis algorithm, statistical test which was suggested by Westfel $d^{［4］}$, the attacker Wendy could select the stego-covers out of suspicious covers. Our newly developed algorithm which minimizes the changes of a pure cover by using the block cipher withstands a statistical test and has a similar embedding capacity in comparison with a simple LSB substitution steganography.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.14 no.1
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• pp.15-23
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• 2004

Westfeld analyzed a sequential LSB embedding steganography effectively through the $\chi$$^2$statistical test which measures the frequencies of PoVs(pairs of values). Fridrich also proposed another statistical analysis, so-called RS steganalysis by which the embedding message rate can be estimated. This method is based on the partition of pixels as three groups; Regular, Singular, Unusable groups. In this paper, we propose a new steganographic scheme which preserves the above two statistics. The proposed scheme embeds the secret message in the innocent image by randomly adding one to real pixel value or subtracting one from it, then adjusts the statistical measures to equal those of the original image.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.207-220
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• 2021

Recent advances in new media for sensory experiences keep expanding visual expression methods in installation art such as projection mapping and virtual reality. Artists can create and develop visual expression techniques based on such new media. Projection mapping is a new medium that continues to add various possibilities to visual expression in media art. Under the projection mapping environment, artists can recompose the object or space with the digital content by projecting video onto three-dimensional surfaces in the space. This paper focuses on the process where visual expression with the projection mapping technology leads to viewers' sensory experience. To this end, "reproducibility," "dissemination," "virtuality," and "interactivity" of media were analyzed to describe the meaning and *definition of visual expression. Artworks are considered as an example to study visual expression techniques such as "repetition and overlap," "simulacrum and metaphor," and "displacement and conversion." I applied the analysis and created Domino, a projection mapping artwork, which helps the research on visual expression techniques that can lead to sensory experience the extensibility of visual expression.

• Journal of Life Science
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• v.20 no.3
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• pp.462-465
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• 2010

Sweetness plays an important role in providing calories and promoting appetite for food. Since it has been known that genetic factor(s) is involved in individual differences in taste sensitivity in humans, this study aimed to examine genetic variations of the TAS1R2 gene, one of the components for tasting sweet compounds, by using DNA sequencing analysis from 98 unrelated Korean subjects. As a result, 12 different single nucleotide polymorphisms (SNPs) were identified in the hTAS1R2 gene and most of them were nonsynonymous. Also, two novel SNPs were found for the first time in this study. It was noted that the frequencies of these SNPs were common in the Korean population. 20 different haplotypes with coding SNPs (cSNPs) were also found in this study. Three out of these haplotypes were common, showing frequencies of > 10%. The repertoire and frequencies of cSNPs and haplotypes in the hTAS1R2 gene will provide information that will help identify a functional ligand receptor common in the Korean population.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.