• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.113-114
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• 2011

차세대식품으로 주목받고 있는 스피룰리나의 항균성 유산균(Probiotics: Lactobacillus Pentosus) 발효를 통해 얻어지는 항균성 발효스피룰리나의 국민건강증진 방편으로 이를 이용, 소비자 및 수요자의 접근을 용의하기위하며, 주 소비층인 환자, 노약자, 임산부, 어린이층의 Target content의 개발과 발효스피룰리나에 대한 시험결과 즉, 2010년 3월 락토바실러스 펜토수스 K34를 이용해 발효한 결과 발효공정을 통해 락트산; 아세트산; 구연산; 숙신산등의 유기산이 적어도 3종 이상 생성되었으며, 단백질 함량은 10% 이하로 변화를 보이지 않았고, 탄수화물의 거의 분해되어 락트산 및 프로피온산 등의 유기산으로 변화됨에 따라, 개발된 새로운 식품원료의 다양한 식품개발은 건강증진을 위해 소비수요층의 용의한 접근의 한 방편으로, 만화나 일러스트레이션을 이용한 접근을 통한 홍보 전략이 필요하다.

• Information and Communications Magazine
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• v.31 no.12
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• pp.97-105
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• 2014

단행본, 소설, 잡지, 만화 등 다양한 형태의 전자출판물에 공통적으로 적용 가능한 표현 기술과 콘텐츠 유통을 위한 패키징 기술로 구성된 표준인EPUB3가 국제표준기구인 ISO/IEC에서 국제표준으로 채택됨에 따라 시장 표준이 공적 표준으로 통합되는 현상이 전자출판 분야에서도 뚜렷이 나타나고 있다. 본고에서는 전자출판 표준인 EPUB3을 교과서 등 교육용 교재, 참고서, 학습서 등 교육 분야에 확대 적용하기 위하여 온라인 평가 서비스, 학습용 소프트웨어 연계, 교육용 메타데이터 활용 등 이질적인 기술 들 간의 융합이 어떻게 이루어져야 하는지에 대한 방향을 제시한다. 이러한 노력은 지난 2013년부터 국제 표준화 단체인 IDPF(International Digital Publishing Forum), IMS Global Learning Consortium, World Wide Web Consortium이 구성한 EDUPUB Alliance를 통해 구체화되고 있다. 따라서 향후 어떠한 구체적인 주제의 논의가 국내에서도 필요한지 알아본다. 또한 디지털 교과서와 학습 교재는 모바일 및 온라인 학습환경에서 다양하게 활용될 수 있으며, 학습자가 생성하는 학습 데이터를 체계적으로 수집하고 분석한다면 학습결과를 향상시키는데 큰 기여를 할 수 있을 것으로 기대한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2014.11a
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• pp.108-111
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• 2014

본 논문에서는 스마트폰에 탑재되는 모바일 GPU 를 활용하여 만화 형식의 영상을 생성하는 과정을 가속하는 방법을 제시하였다. 또한 모바일 GPU 에 적합한 벡터 데이터 타입과 벡터 명령어의 사용 및 워크 그룹 크기에 의한 영향을 고려한 최적화를 적용하였다. 제안하는 모바일 GPU 가속 기법의 검증을 위해 OpenCL API 를 이용하여 구현하였다 실험 결과를 통해 제안하는 기법이 모바일 CPU 기반의 처리 방법 보다 800% 이상의 성능 향상을 있음을 확인하였다.

• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.

• Journal of Korea Game Society
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• v.6 no.4
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• pp.3-16
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• 2006

Making storyboards is the process of visualizing your film script by hawing sketches of screen shots. The final output looks like a comic book version of your film without speech bubbles. It helps you imagine how your movies, animations, and game opening movies are going to look like Should I be an artist to do this work? Maybe. But if you take a look at the storyboards of Hitchcock's or Spielberg's, you will notice that they have no talents of drawing. What's important in storyboards is actor's moving routes. Thus, far the easier and faster storyboard-making, we developed a tool for making digital storyboards with simulation. Using digital storyboards, you can be more productive than ever. You can organize your ideas and create your shots with the digital storyboads more effectively and it's time-saving, too. Besides, you can export the storyboard fie to HTML format for viewing/showing on the internet, so that you can share your storyboards with your colleagues, crew and clients through the internet.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.27 no.8A
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• pp.836-845
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• 2002

Video summary is one of the tools which can provide the fast and effective browsing for a lengthy video. Video summary consists of many key-frames that could be defined differently depending on the video genre it belongs to. Consequently, the video summary constructed by the uniform manner might lead into inadequate result. Therefore, identifying the video genre is the important first step in generating the meaningful video summary. We propose a new method that can classify the genre of the video data in MPEC compressed bit-stream domain. Since the proposed method operates directly on the compressed bit-stream without decoding the frame, it has merits such as simple calculation and short processing time. In the proposed method, only the visual information is utilized through the spatial-temporal analysis to classify the video genre. Experiments are done for 6 genres of video: Cartoon, commercial, Music Video, News, Sports, and Talk Show. Experimental result shows more than 90% of accuracy in genre classification for the well -structured video data such as Talk Show and Sports.

• Cartoon and Animation Studies
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• s.51
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• pp.391-411
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• 2018

The purpose of this thesis is to examine ontology of digital photo image based on a Simulacre concept of Gilles Deleuze & Jean Baudrillard. Traditionally, analog image follows the logic of reproduction with a similarity with original target. Therefore, visual reality of analog image is illuminated, interpreted, and described in a subjective viewpoint, but does not deviate from the interpreted reality. However, digital image does not exist physically but exists as information that is made of mathematical data, a digital algorithm. This digital image is that newness of every reproduction, that is, essence of subject 'once existing there' does not exist anymore, and does not instruct or reproduce an outside target. Therefore, digital image does not have the similarity and does not keep the index instruction ability anymore. It means that this digital image is converted into a virtual area, and this is not reproduction of already existing but display of not existing yet. This not-being of digital image changes understanding of reality, existence, and imagination. Now, dividing it into reality and imagination itself is meaningless, and this does not make digital image with technical improvement but is a new image that is basically completely different from existing image. Eventually, digital image of the day passes step to visualize an existent target, nonexistent things have been visualized, and reality operates virtually. It means that digital image does not reproduce our reality but reproduces other reality realistically. In other words, it is a virtual reproduction producing an image that is not related to a target, that is to say Simulacre. In the virtually simulated world, reality has an infinite possibility, and it is not a picture of the past and present and has a possibility as the infinite virtual that is not fixed, is infinitely mutable, and is not actualized yet.

• Cartoon and Animation Studies
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• s.42
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• pp.315-335
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• 2016

Culture is being created and consumed as several form by human development. Populace is forming through movement of mass of people to specific place which influenced by urbanization and industrialization. Since cultural products are created on base of economic principles cultural content makers are make culture products after lot of study and analyze. In early days popular culture was accepted only by the meaning of the text which has settled already via country or company which was holding the capital. But today we can apply culture products freely by the power of public opinion and media art's growth. Especially fandom is giving the opportunity to consume the image of cultural products actively and offering the good influence to make it by several ways of activities to the culture producers. In this study, consumption as a cultural group formed by the fandom in public will be transformed into participatory groups by the influence of cultural activities with fan art reproduction. These changes in the consumption of culture products will make it in positive way. Thereby culture creator who thinks fandom as a group of culture capital maker only use it now for the indicator for predicting success of culture products. Will find out in this study how culture consumption is accomplishing by fan fiction and fan illustration in the fandom culture and how reproduced fan art is affects to culture creators.

• Cartoon and Animation Studies
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• s.42
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• pp.125-150
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• 2016

In the 2000s, Korean cinema maintained the industrial growth on the strength of 10 million audiences and the successful Korean blockbuster. A variety of film materials such as history, politics, social issues, and the division between North and South Korea ideology were addressed in the movies, and one of the movies based on a true story was popular. Accordingly, external size of the film industry has been gradually expanding. Korean public movies have a firm position in the film market, and a diversity of discussion is made as the movies spontaneously get attention. Also, the influence of social media and media which recognized far-reaching powers of public films causes a political and social change, but it also provokes ideology controversy. Objectivity of this study is first to discuss factors and initiating causes that Korean movies have firmly settled as public movies since late 1990s. Secondly, this study considers relation among media, social media. and Korean public film that aroused more arguments on politics, society, and history in 2000s. The powerful influence of films on society not only leads political change but also affects awareness change of audience and the role of social media.

• Cartoon and Animation Studies
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• s.47
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• pp.335-356
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• 2017

With the development of the domestic character industry, the interest in public characters has also been increased as like the characters of industrial contents. The public character is a non-commercial character implicitly expressing the symbolism shared or directed by members of the specific region, organization, organization, organization, or event. It has been distinguished from commercial design, aiming the profit for a specific person or group, and it has been given the role coincided with the purpose of public design, pursuing social value such as citizens' happiness, happiness in the subject and object, aiming value and role of design. Public characters has been grown around the local government character development, but most of the characters were not practically utilized. However, as interest in public characters has been increased, those have been received worm welcome again as a means of expressing the uniqueness and identity of the region. In this paper, we have tried to study the expression of identity of public character by substituting the site-specificity. The site-specificity is referring the art of the time that focuses on the region in contemporary art, a work in which the meaning is created by a specific region and situation. Currently, as a main role of public character is representing the region or the institution, its identity and value can be judged by the community it belongs. Through this, it is intended to study the social meaning of the character in the region as a public design.