• Journal of Digital Convergence
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• v.19 no.11
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• pp.315-325
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• 2021

This study conducted a questionnaire survey on 280 people who had experience of using mobile augmented reality-based online concerts. Using the SPSS 21.0 and AMOS 21.0 programs, the factors affecting the intention to reuse were investigated through statistical analysis(correlation analysis, path analysis, etc.). The main results are as follows. First of all, Presence and interactivity had a positive effect on flow, perceived ease of use and perceived usefulness. Flow had a positive effect on perceived ease of use and perceived usefulness. Perceived ease of use had a positive effect on perceived usefulness, and perceived usefulness had a direct positive effect on intention to reuse whereas perceived ease of use had an indirect effect on intention to reuse through perceived usefulness. In order to increase the intention to reuse of the mobile augmented reality-based online concert, it is necessary to prepare a plan to increase the level of presence, interactivity, and flow experienced by users. This study identified factors that affect the intention to reuse online concerts based on mobile augmented reality in an untact society. Therefore, it will be meaningful in that it presents the implications necessary to prepare a plan that can be efficiently accepted by consumers for the rapidly growing mobile augmented reality-based online concert.

• Cartoon and Animation Studies
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• s.50
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• pp.101-130
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• 2018

Since the advent of the Smart Devices, the smartphone has become a popular tool to view Webtoon. This phenomenon has caused the convergence of cutting-edge technologies and Webtoons in diverse forms, creating unique versions of Webtoons including, but not limited to Smart-toon, Effect-toon, Cut-toon, Dubbing-toon, Moving-toon, AR-toon, VR-toon, and Interaction-toon. By comparison to these rich diversities of Webtoons in the online industry, there is a lack of academic research on this topic. There are some papers which talk about the different types of multimedia technology conversion and its case presentation or the effectiveness and problems of visual effect, but the effects of these convergence technologies on comic readers' concentration and reading effectiveness have never been investigated so far. Therefore, this paper will discuss the unique method of immersive storytelling that is often used in comics and analyze each aspects of immersive method in technology-converged Webtoons along with its problems. Furthermore, this paper will analyze different aspects of "immersion" and interaction elements that can be found in the popular Interaction-toon, (Encountered). Through this, this paper discusses the positive influence of the interaction elements on comic readers' immersion level and its limitation. To classify the technology-converged Webtoons in terms of the immersion level, the Effect-toon sometimes interferes viewer's flow by using excessive use of multimedia effect, creating information overload. The Smart-toon which applied motions to each frame under horizontal mode of smartphones was a good try, but it hindered the readers' activeness and made it hard for the readers to be fully absorbed in the story. The VR-toon, which utilizes virtual reality gadgets to allow viewers to explore the world of Webtoon was also a nice try to overcome the limitation of vertical screens. However, it often caused dispersion of user's attention and reduced the users' immersion level. The Moving-toon which only emphasized the reading convenience also invaded readers' activeness and disturb users' concentration. On the other hand, the cartoonist Il-Kwon Ha applied high technologies such as face recognition technology, augmented reality techniques, 360-degree panorama technology, and haptic technology to his cartoon (Encountered). This allowed the readers to form a sense of closeness towards the cartoon characters which let the readers to identify themselves with the characters and interact with them. By this way, the readers can be fully immersed in the story. However, technology abuse, impractical production and hackneyed storylining often showed later in the story remains as its limitations.

• Journal of the Korean Institute of Intelligent Systems
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• v.16 no.2
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• pp.164-171
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• 2006

Recently Digital multimedia broadcasting (DMB) has been available as a commercial service. The users sometimes have difficulty in finding their preferred multimedia contents and need to spend a lot of searching time finding them. They are even very likely to miss their preferred contents while searching for them. In order to solve the problem, we need a method for recommendation users preferred only minimum information. We propose an algorithm and a system for recommending users' preferred contents using preference transition probability from user's usage history. The system includes four agents: a client manager agent, a monitoring agent, a learning agent, and a recommendation agent. The client manager agent interacts and coordinates with the other modules, the monitoring agent gathers usage data for analyzing the user's preference of the contents, the learning agent cleans the gathered usage data and modeling with state transition matrix over time, and the recommendation agent recommends the user's preferred contents by analyzing the cleaned usage data. In the recommendation agent, we developed the recommendation algorithm using a user's preference transition probability for the contents. The prototype of the proposed system is designed and implemented on the WIPI(Wireless Internet Platform for Interoperability). The experimental results show that the recommendation algorithm using a user's preference transition probability can provide better performances than a conventional method.

• Archives of design research
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• v.17 no.1
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• pp.231-240
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• 2004

Space design in the 21st century has been developed in connection with media more various than ever. In the age of image represented by popular culture, space design connected with media is based on post-reason thoughts constituting the post-modern society, and reflects polysemously and pluralistically changes in the society through the identification of art with life. The movie, which is an image perceived particularly sensibly and the most impractical simulated image among various illusionary media images composing the contemporary society, is growing rapidly in interrelation with various fields of art based on its peculiar nature, and its influence is getting more extensive. The movie manipulates mass society to create what does not exist and restore lost images into new realities through the reproduction of extremely realistic senses, and uses them in establishing virtual realities and creating illusionary images representing the age of simularc. The illusionary expression of the movie produces new meanings through disintegrating existing meanings and recombining them, and expresses popular culture from a position closest to our everyday life. Such an analytical attitude toward the illusionary movie reflecting our society can be a new approach to space design. The present study attempts to suggest the possibility of applying such an illusionary characteristic of the movie as a methodology of space design by utilizing the characteristic as a conceptual language of space design.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.375-385
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• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.

• Journal of KIISE:Computing Practices and Letters
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• v.7 no.6
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• pp.602-613
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• 2001

Recently, the computing has developing in distributed object computing environment for supporting a programming paradigm of distributed application requiring interoperability between heterogeneous clients and servers. It involves the complex networking and the object-oriented technologies for various multimedia application service. In this paper, we construct the real-time object group platform for solving the difficulties of managements of distributed objects and the real-time constraints by requiring for real-time service supporting of applications in distributed computing environment. The existing researches are being tried to only improving the performance of systems by using real-time CORBA itself, or modifying the part of CORBA compliance. Hence, we design a new model of real-time object group platform that can support the real-time requirement without modifying the ORB. The structure of our real-time object group analyzed and defined the requirement about object management and real-time application service sides. And the role of the components of real-time object group is divided into 2 classes for reducing the side effect of interoperability between management and service. Also, we considered how to transparently express the parameters of real-time properties for clients and developers of server's service objects. If the expression of real-time parameters is transparent, then the developer can easily extend the real-time parameters simply and flexibly. Therefore, in this paper we defined the role of components of platform and described functions of each component and designed and then implemented the real-time object group platform. Finally, we showed the execution procedures of implemented our platform for verifying the functionality.

• Proceedings of the Korea Information Processing Society Conference
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• 2001.10a
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• pp.297-300
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• 2001

최근의 컴퓨팅 환경은 이질적인 클라이언트와 서버들간의 상호 운용성을 요구하는 분산 어플리케이션을 위한 프로그래밍 파라다임을 지원하기 위한 분산 객체 컴퓨팅 환경으로 발전되고 있다. 여기에는 복잡한 네트워킹과 다양한 멀티미디어 응용 서비스를 위한 객체지향 기술들이 접목되고 있다. 이러한 분산 컴퓨팅 환경에서 처리되는 어플리케이션들의 실시간 서비스 지원을 위해 요구되는 실시간 특성과 분산 객체들의 관리의 어려움을 해결하기 위하여 본 논문에서는 실시간 객체그룹 플랫폼을 구축한다. 기존의 연구들은 실시간 CORBA를 사용하거나 또는 ORB를 수정하거나 실시간 운영체제상에 특정 CORBA 제품군을 사용하여 분산 환경의 특정 영역의 성능향상만을 도모하고 있다. 그러므로, 본 논문은 ORB의 수정 없이 표준 CORBA상에서 실시간 특성을 지원한 수 있는 실시간 객체그룹 플랫폼을 설계한다. 본 논문의 실시간 객체그룹 구조는 객체들의 관리적인 측면과 실시간 어플리케이션 서비스 지원 측면에 대한 요구사항들을 분석하여 정립한 모델이며, 구성요소들의 기능을 관리와 서비스로 분리하여 각각의 기능수행시에 발생하는 객체간의 상호작용이 다른 기능에 영향을 미치지 않도록 한다. 또한, 구축된 플랫폼은 실시간 어플리케이션 개발자에게 실시간 특성 파라미터의 표현과 처리에 대한 투명성을 부여하여 어플리케이션에 유연성과 확장성을 제공하기가 용이하도록 한다. 따라서, 본 논문은 실시간 객체그룹 플랫폼의 구성요소들에 대한 역할을 정의하고 기능을 정립하며, 각 구성요소들을 설계하고 구현하였으며, 구현되어진 실시간 객체그룹 플랫폼의 기능과 수행 성능을 검증한다.가지 유기화합물 중에서는 35.6%를 차지하였다. BTEX 각각 개별물질은 미국 환경보호청이 제시하는 일일 노출 기준량(Reference Concentration; RfC) 보다는 현저히 낮았다. 총 휘발성 유기화합물읜 농도는 실내가 실외 보다 높았다(I/O ratio 2.5). BTEX의 상대적 함량도 실내가 실외보다 높아 실내에도 발생원이 있음을 암시하고 있다. 자료 분석결과 유치원 실내의 벤젠은 실외로부터 유입되고 있었고, 톨루엔, 에틸벤젠, 크실렌은 실외뿐 아니라 실내에서도 발생하고 있었다. 정량한 8개 화합물 각각과 총 휘발성 유기화합물의 스피어만 상관계수는 벤젠을 제외하고는 모두 유의하였다. 이중 톨루엔과 크실렌은 총 휘발성 유기화합물과 좋은 상관성 (톨루엔 0.76, 크실렌, 0.87)을 나타내었다. 이 연구는 톨루엔과 크실렌이 총 휘발성 유기화합물의 좋은 지표를 사용될 있고, 톨루엔, 에틸벤젠, 크실렌 등 많은 휘발성 유기화합물의 발생원은 실외뿐 아니라 실내에도 있음을 나타내고 있다.>10)의 $[^{18}F]F_2$를 얻었다. 결론: $^{18}O(p,n)^{18}F$ 핵반응을 이용하여 친전자성 방사성동위원소 $[^{18}F]F_2$를 생산하였다. 표적 챔버는 알루미늄으로 제작하였으며 본 연구에서 연구된 $[^{18}F]F_2$가스는 친핵성 치환반응으로 방사성동위원소를 도입하기 어려운 다양한 방사성의 약품개발에 유용하게 이용될 수 있을 것이다.었으나 움직임 보정 후 영상을 이용하여 비교한 경우, 결합능 변화가 선조체 영역에서 국한되어 나타

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Science of Emotion and Sensibility
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• v.18 no.1
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• pp.59-66
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• 2015

To date, contents' usability of most multimedia devices has been focused on developer not on user, which made difficult in solving the problems or fulfilling the needs while people using real system. Although user-centered UX and UI researches have been studied and have resulted in innovation in some part, it does not show great effect on usability as it is not easy to interpret human emotions and needs and to apply those to system. Usability is the matter on how deeply smart devices can interpret and analyze human mind not on how much functions and technologies are improved. This study aims to help with usability improvement based on user when people use smart devices in multimedia environment. We studied the interaction between human and contents by analyzing the effect of human emotions and personalities on preference and consumption of contents' type. This study was done by assuming that proper analysis on human emotions may increase user satisfaction on multimedia environment. We analyzed contents preference by gender and emotion. The results showed that there is significant relationship between 'Happy' emotion and 'Comedy Program' preference and men are more prefer it than women. However, it does not reveal any significant relationship between 'Sad' emotion and contents preferences but women are slightly more prefer 'Comedy Program' than men. This result supports the Zillmann's 'mood based management', which suggests that the needs for pleasant contents are revealed to relieve sadness when people are in a sad mood. In addition, our finding corresponds with Oliver's insistence on meeting all four factors, insight, meaningfulness, understanding and reflection, rather than just pleasure for more satisfaction. This study focused on temporary emotional factors and contents and additionally on effect of users' emotion, personality and preference on type of contents consumption. This relationship between emotions and contents study would suggest the better direction for developing smart devices with great contents usability and user satisfaction in the future.