• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.40-47
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• 2012

Existing art, media art, accompanied by a new path of awareness and perception instrumentalized by the human body, creating a new way to watch the interaction is proposed. Western art way to create visual images of the point cloud that represented a form that is similar to the Pointage. This traditional painting techniques using digital technology means reconfiguration. In this paper, a new appreciation of fusion of aesthetic elements and digital technology, making the point cloud in the form of video. And this holographic film projection of the spectator, and gestures to interact with the video content is presented. A Process of making contents is intent planning, content creation, content production point cloud in the form of image, 3D gestures for interaction design process, go through the process of holographic film projection. Visual and experiential content of memory recall process takes place in the consciousness of the people expressed. Complete the process of memory recall, uncertain memories, memories materialized, recalled. Uncertain remember the vague shapes of the point cloud in the form of an image represented by the image. As embodied memories through the act of interaction to manipulate images recall is complete.

• Tuberculosis and Respiratory Diseases
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• v.46 no.3
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• pp.363-371
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• 1999

Background: Because of the widespread use and availability of agricultural insecticides, acute organophosphate poisoning as a suicide or an accident is becoming the most common type of poisoning and serious problem in Korea. The mortality of organophosphate poisoning varied from 10 to 86 percent. The cause of death was thought to be a combination of excessive bronchial secretion, bronchospasm, respiratory muscle paralysis and depression of respiratory center, summarily respiratory failure. We evaluated the respiratory complications in patients with acute organophosphate intoxication to determine the predisposing, factors to respiratory failure and to reduce the incidence of respiratory failure or mortality. Method: We conducted a retrospective study of 111 patients with the discharge diagnosis of organophosphate poisoning who were hospitalized at Yenugnam University Hospital during the 5 years. The diagnosis of organophosphate poisoning has based on the followings (1) a history of exposure to an organophosphate compounds. (2) the characteristic clinical signs and symptoms. (3) decrease in the cholinesterase activity in the serum. Results: Respiratory failure developed in 31(28%) of 111 patients with acute organophosphate poisoning. All cases of respiratory failure developed within 96 hours after poisoning and within 24 hours in 23 patients. The 80 patients who did not develop respiratory failure survived. In 31 patients with respiratory failure, 15(44%) patients were dead. The patients with respiratory failure had more severe poisoning, that is, the lower level of serum cholinesterase activity on arrival, the higher mean dosage of atropine administered within first 24 hours. In 16 patients with pneumonia, 14 patients developed respiratory failure. In 5 patients with cardiovascular collapse, 2 patients developed respiratory failure. There was no correlation to between age, sex, the use of pralidoxime and respiratory failure. The serum cholinesterase level in survivors at time of respiratory failure and weaning was $66.05{\pm}85.48U/L$, $441{\pm}167.49U/L$, respectively. Conclusion: All the respiratory failure complications of acute organophosphate poisoning occurred during the first 96 hours after exposure. The severity of poisoning and pneumonia were the predisposing factors to respiratory failure. Aggressive treatment and prevention of the above factors will reduce the incidence of respiratory failure.

• Proceedings of the Korean Information Science Society Conference
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• 2010.06a
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• pp.112-116
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• 2010

본 논문에서는 테이블탑 디스플레이을 기반으로한 RealBook에 대하여 제안한다. 전자책은 일반 종이책이 아닌 컴퓨터를 이용한 가상의 책으로써 사용자가 독서를 하는 도중 동영상 자료를 보거나 배경음악을 들을 수 있게 해주는 멀티미디어 콘텐츠이다. 또한, 테이블탑 디스플레이 플랫폼에서 사용하므로 손의 직접적인 터치를 이용하여 전자책과 사용자 간의 좀 더 다양한 상호작용이 가능하도록 한다. 테이블탑 디스플레이에서는 손가락의 터치 점을 이용하여 다양한 제스처를 정의할 수 있어서, 사용자가 기존 입력 장치에 비해 보다 효과적으로 전자책을 체험하는 것을 돕는다. 본 논문에서는 제안하는 방법은 기존 전자책과 차별화된 상호작용 디지털와 아날로그를 결함한 책(Real book)으로써 전자책에 대한 새로운 방향을 제시할 수 있고, 미디어 아트와 스토리텔링 기법을 접목시켜 사용자에게 정보 전달뿐만 아니라 예술과 오락 등을 제공할 수 있다. 앞으로 컴퓨터와 사용자간의 상호작용을 원활하게 할 수 있어 다양한 어플리케이션 개발에 활용될 수 있고 향후 미래 지향적 시스템이 될 것이다.

• Journal of Digital Convergence
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• v.12 no.4
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• pp.461-466
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• 2014

With the popularity of Japan's "Three Kingdoms" series of games, the Three Kingdoms became popular and gave birth to the Three Kingdoms game for the traditional cultural resources and cultural industries. At the same time generate economic benefits and promote the traditional culture of double effect. With Liu Bei, Guan Yu and other roles in the development of cultural industries in each particular historical figure internationalization appearance design to get attention in the digital arts industry. In this thesis, three kingdoms cultures and three kingdoms generals were analyzed based on classic novel Three Kingdoms (三国演义). Guan Yu, China and South Korea in appearing common in the game as the center. Take example of the role of Guan Yu's generals styling, clothing, weapons, color comparison, attempts to explore the international trend of historical figures game character.

• Journal of Korea Multimedia Society
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• v.10 no.4
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• pp.506-515
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• 2007

In this paper, we propose a Real-time Interactive Shadow Avatar(RISA) which can express facial emotions changing as response of user's gestures. The avatar's shape is a virtual Shadow constructed from the real-time sampled picture of user's shape. Several predefined facial animations overlap on the face area of the virtual Shadow, according to the types of hand gestures. We use the background subtraction method to separate the virtual Shadow, and a simplified region-based tracking method is adopted for tracking hand positions and detecting hand gestures. In order to express smooth change of emotions, we use a refined morphing method which uses many more frames in contrast with traditional dynamic emoticons. RISA can be directly applied to the area of interface media arts and we expect the detecting scheme of RISA would be utilized as an alternative media interface for DMB and camera phones which need simple input devices, in the near future.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.127-140
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• 2020

Since the first episode of (1995) by Pixar, a world leading animation company, 3D animation has been focused on realistic motion and rendering techniques. However, in 2018, 3D animation was released, with unique backgrounds created through illustration techniques and dynamic movements of characters that seemed to be produced by hand rather than computers. It shows a lot of difference from other 3D animations. In this study, I analyzed 's new production techniques and expressions into two categories, first, the use of old comics techniques, and second, other factors that made the animation stand out. in 3D animation market focused on realistic motion and rendering techniques can have positive implications in terms of expanding animation diversity. This study is expected to be used as academic or research data for researchers studying new production techniques in related fields.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.93-101
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• 2014

My artwork, '1000 years', in the form of an animation film has been exhibited in the '2011 Haein Art project' of a special exhibition at the Haeinsa monastery compound. The '1000 years' represents the marvels of sacredness and Buddhist symbols using the surrealist expression of computer animation. This paper would argue how Buddhist idea can be explored by the surrealist expression of 3D computer animation. In the light of this, animation and surrealist expression will be reviewed by the epistemological approach and based on this, I would attempt to reveal how this computer animation film represents the meaning of Buddhist symbols which exist in the monastery compound. This research is processed by the case study related to my artwork as the form of art practice based research.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.35-43
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• 2022

The 2020 Gwangju Media Art Festival (2020 GMAF) was held in the area of the National Asian Cultural Center. Under the slogan "The entire Gwangju shines under the theme of "Aesthetics of Light and Coexistence," the media festival demonstrated projection mapping to Jeonnam (former) Provincial Office at the DATA+ Research Institute of Chung-Ang University's Graduate School of Advanced Video. This paper focuses on explaining the overall production process and content development of projection mapping demonstrated in the Jeollanam-do Provincial Government, which is a symbol of Korean democratization and is located in the center of Gwangju, Jeolla-do. It was intended to faithfully express the history of the 2020 GMAF and Jeonnam (former) provincial government, Gwangju's history, and democratization records. It was intended to show images, background sounds, sound effects, and visual effects using various special effects and high-power laser devices using unique characteristics of projection mapping. To this end, about 5 minutes and 30 seconds of content were planned, and it was divided into parts and topics, and one individual story was developed for each chapter.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• 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.