• Journal of The Korean Association For Science Education
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• v.40 no.1
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• pp.13-28
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• 2020

This study attempted to understand the characteristics of images of scientific experiments represented and consumed on YouTube, a representative of today's new media. In particular, this paper analyzes the case studies of YouTube's hydrogen peroxide decomposition experiment based on Baudrillard's theory of Simulation and Simulacra, which discusses the strong status of images and the ambiguity of the boundary between virtual and reality. A total of 14 YouTube videos related to hydrogen peroxide decomposition experiments were analyzed. In those videos, hydrogen peroxide decomposition experiments were typically conducted with several signs representing scientific experiments, but the most important sign in the videos were bubbles produced through experiments. For more public consumption of the content, the bubbles resulted from hydrogen peroxide decomposition reproduced in YouTube have been transformed into a more spectacular image as 'super-huge' and 'explosive' bubble. Considering the influence of new media that can be accessed by students anytime and anywhere, it is positive that science experiments in new media enhance students' intimacy and access to science. At the same time, however, it is also important to note the danger that the purpose of scientific experiments will be limited to only 'showing specular images', due to the nature of new media, which mainly deals with immediate and superficial images. Furthermore, this study argues that improving students' science media literacy is required to critically examine the science-related images represented in the new media based on understanding the characteristics and limitations of new media that deeply affect daily life.

• Journal of The Korean Association For Science Education
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• v.43 no.2
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• pp.59-72
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• 2023

This study analyzed a group interview with six earth science teachers and eight middle school students to find out the evaluations and criteria they use to evaluate VR/AR contents (two virtual reality content and two augmented reality contents) in middle school science digital textbook. The study found the VR/AR contents were evaluated on four criteria as follows: VR/AR media characteristics; technical operation; user interface; and teaching-learning design. The evaluations can be summarized by each criterion. First, regarding VR/AR media characteristics, interesting features of VR/AR contents were considered relatively advantageous compared to other media like videos. However, its shortage of visual presence and inconvenience of using markers were mentioned as shortcomings. Second, in the technical operation criteria, teachers and students found the following conditions as technically challenging: failing to properly operate on a particular OS; huge volumes of contents in the application; and frequent freezing when using the application. Third, poor intuitiveness and lack of flexibility were found as negative aspects in user interface. Fourth, regarding teaching-learning design, the teachers evaluated whether the VR/AR contents delivered scientifically accurate information; whether they incorporated class goals set by teachers; and whether they can help students' inquiry. It turned out teachers gave negative feedbacks on VR/AR contents. The students evaluated VR/AR contents by assessing whether they help them with learning science but concluded they did not regard them necessary in science learning at school. Based on the findings, this study discusses which development direction VR/AR contents should take to be useful in teaching and learning science.

• Journal of The Korean Association For Science Education
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• v.19 no.3
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• pp.428-440
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• 1999

The colorful overhead projector films, named as Bio-cosmos II, including photographs, pictures, concept maps, and diagrams, were developed and manufactured as audio-visual teaching aids and teaching resources for students' biology learning in high school, and the CD-ROM and web sites for their application to the school were also constructed. The content of the films was organized based upon the analysis of seven different biology textbooks approved by the Ministry of Education. The films were designated based on various instructional strategies and manufactured using multimedia with various educational softwares. The CD-ROM was composed of the scenes as logo, initial main, chapters list, contents, and quit. Initial main scene indicated various chapters according to the texts of biology areas in General Science, Biology I, and II. Each chapters linked with the scenes for detailed concept maps, the downstream real subjects, and contents. The subject screens were composed of various types of summarized diagrams including lesson contents, figures, pictures, photographs, and their explanation, experimental procedures and results, tables for summarized contents, and additional animation with video captures, explanations, glossary, etc. Most files were manufactured in software Adobe Photoshop by scanning the pictures, figures and photographs, and then the explanation, modification, storing with PICT or PSD files, and transformation with JPG files, were processed in the aspect of high quality in terms of instructional strategies and graphic skills on gracefulness, clearness, colorfulness, brightness, and distinctness. A 14 films for biology areas in General Science, 80 for Biology I, and 142 for Biology II were manufactured and loaded to the CD-ROM and web site, and the files had been attempted to opened with an internet home-page of http://gic.kyungpook.ac.kr/biocosmos.

• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• Cartoon and Animation Studies
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• s.24
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• pp.135-154
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• 2011

Simulacra theory as propounded by Jean Baudrillard in his seminal treatise, "Simulacra and Simulation," explores the significance of images, media and art in contemporary culture. Its central theoretical premise is the simulacrum, a sign or symbol that plays a crucial role in constructing perceived reality but which lacks a real-world referent. In Michel Gondry creates simulacra in the form of hallucinatory dream imagery by combining stop-motion animation and live-action elements. As experimental film-making that combines analog and minimum digital technologies, the result is a tour-de-force of synchronization. This study analyzes the film's technique and expressive content and, by adopting simulacra theory as a conceptual framework, aims to provide a better understanding of Gondry's work.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Journal of The Korean Association For Science Education
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• v.40 no.6
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• pp.595-609
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• 2020

The purpose of this study is to analyze the experiences of teachers who participated in the development of online science class videos in the context of covid-19, their perception of online science class, and the characteristics of the online science class content developed by teachers. A survey and interviews were conducted with ten elementary school teachers who made online science class videos themselves. Also the characteristics of the online science class were investigated by analyzing the online science class video produced by the participants. As a result, participants in the study recognized the lack of production time, difficulty in filming and editing, concerns over misconceptions, the problem of solving copyrights for existing materials, and the burden of external disclosure. Although it was a teacher who had experience producing online science class video contents, no research participants actively answered the merits of online science class. On the other hand, the study participants cited that the shortcomings of online science classes were that students had fewer opportunities for inquiry and lack of communication or interaction. In particular, these shortcomings were thought to have a great influence on the quality of online science classes, especially in making inquiry classes difficult. Some teachers took a negative view that online science classes could not completely replace face-to-face classes. However, if multiple teachers are presented with supplementary teaching activities that complement the content-based online teaching method, the method of combining online science classes and face-to-face classes is not. Through the analysis of the contents of the online science class, the introduction and arrangement steps of the online science class were similar to the process of the face-to-face science class, but the inquiry step and the conceptual explanation step showed a big difference from the face-to-face science class.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.639-643
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• 2008

Since seasonal changes, blooming of a flower, etc., which take place in accordance with passage of time, transpire over an extended duration of time, one performs the Time-Lapse so that one can watch them quickly by compressing time. Because such a Time-Lapse records a wide range of conditions including the place, angle of view, and time found in a natural state in accordance with a precise interval of time and in the samestate, it is also referred to as Interval recording. The Time-Lapse technique is used widely in various fields such as education, science, documentary, and the media. In terms of acquiring a Time-Lapse image, by making it possible for one to treat an image by deleting and adjusting unnecessary backgrounds excluding the main subject for photography such as the flower unlike existing methods and by making it possible for one to apply extensively the real-life recorded image as a library or image data in 2D or 3D, the present study seeks to propose a technique for the background treatment of Time-Lapse image that allows for everyone to bestow creativity to image production easily and conveniently.

• Journal of Conservation Science
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• v.37 no.3
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• pp.220-231
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• 2021

The use of digital copies of film-based analog images and the introduction of digital radiographic imaging systems using image plates gradually replace the non-destructive radiationirradiation method of Cultural Heritage. The quality of images obtained from this technique is affected by conditions such as tube voltage, tube current, and exposure time, type of image acquisition medium, distance of the artifacts from the image acquisition medium, and thickness of artifacts. In this study, we evaluated the grayscale image obtained using GE's Computed Radiograhpy (CR) imaging system, the transmission characteristics of the X-ray source for each tree type (pine, chestnut, sawtooth oak, ginkgo) used in wooden Cultural Heritage, and the signal-to-noise ratio (SNR) and contrast. The GE's CR imaging were analyzed using the Duplex wire image quality indicator, line-pair gauges.

• Korean Association for Visual Culture
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• v.19
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• pp.189-221
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• 2012

This thesis investigates the development of optical instruments in the 19th century, before the birth of the cinema, and the principle of the perception of moving images. For this purpose it traces the development stages of the optical instruments which demonstrated 'illusion of movement' from 1820s when the 'persistence of vision' had begun to be researched by scientists. Then, it examines the theory of the 'persistence of vision' or 'afterimage effect' known as the principle in the perception of illusion of movement produced from moving images. The optical instruments in the 19th century that presented the illusion of movement began with the Thaumatrope (double-sided picture disc), and appeared from the Phenakistiscope/Stroboscope (revolving disc), the Zoetrope (revolving drum) and the Praxinoscope (mirror-reflexive revolving drum), and in 1892 the Projection-Praxinoscope presented firstly the moving pictures (animation) on the screen. According to the research of psychology and physiology in the early 20th century it has been recognized that the 'afterimage effect' theory is not sufficient to explain the perception of illusion of movement from the moving images which is closely related to the particularity of the visual perception system of the human eyes. Since then, the Phi-phenomenon suggested 1912 by the Gestalt psychologist, Max Wertheimer (1880-1943), is regarded as the most persuasive theory until now, although it is still imperfect.