• Proceedings of the KIPE Conference
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• 2010.07a
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• pp.546-547
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• 2010

최근 고출력 LED의 기술적 진보에 따라 여러 분야에서 LED의 적용 시도가 확산되고 있다. 그 중 LED 무대조명은 조도 제어범위가 넓어 매우 낮은 전력에서 LED를 정전류로 구동할 필요가 있다. 본 논문에서는 200Watt급 RGBW Moving Light를 매우 낮은 전력까지 구동하기 위하여 DC 전류제어 디밍 방식을 적용하였으며, 이를 위한 회로를 설계하여 이를 실험적으로 검증하였다.

• Proceedings of the KIPE Conference
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• 2010.11a
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• pp.300-301
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• 2010

최근 반도체 산업의 비약적 발전으로 고출력 LED 광원 시스템 개발이 확대되고 있다. 그 중 무대조명 분야는 색 연출의 필요성으로 넓은 조도제어(Dimming) 범위가 필수적이다. 본 논문에서는 방송장비의 높은 센싱 속도로 인하여 화면에 생기는 빛의 떨림 현상 제거와 0~100%의 넓은 조도제어 범위를 구현하기 위해 Analog 조도제어와 PWM 조도제어를 결합한 조도제어 방법을 제안하였으며, 이를 위한 회로를 설계하고, 이를 실험적으로 검증하였다.

• Journal of Satellite, Information and Communications
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• v.7 no.3
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• pp.16-21
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• 2012

Recently, an importance of culture industry has been emphasized through an increased income level, spare time and changed values of modern people. And demands of the performance, arts, exhibit are steadily being increased. However the stage equipment depends on foreign manufactures on account of the inactive domestic technical skills. Especially in the lighting direction part, it is essential to control the lighting source and detect the moving line of actors but it generally uses the manual control type and realization of actor's moving line regardless of existing IT-based technologies. Also the system operation of existing sensor-based tracking and detecting technologies depends on the main lighting source of the stage. Therefore, this paper proposed LED lighting control system using the variable FOV and multi sensor-based tracking algorithm, which are possible to efficiently track the stage actors and direct the stage lights. Also we demonstrated the practicality and possibility of realization through the integrated experiment of the proposed system and implementation of the salient hardware, software. Additionally, the usefulness of proposed system was demonstrated using performance simulations and actual measurements of implemented sensor output.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.3-10
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• 2009

The relationship between light and space is fundamental In an opera stage design. In contemporary stage design, light, color and space themselves became one of tile most important elements to express and symbolize the content of the opera. This was very different compared to the primitive and medieval opera stage design in the past. The designer tried to represent the same periodical background of the opera with exact replica of the buildings as well as costumes. In comtemporary performance art, light became one the most important aspects in design. Max Keller is one of the living pioneers in stage lighting design. This thesis that is based on his lighting experiments and projects attempts to examine how contemporary stage design and light are applied and what kind of characteristics they have. One of the Wagner's opera, "Tristan und Isolde" was selected to be further analyzed. Three different "Tristan und Isolde" opera stage designs were carefully studied in terms of how three designs are differently constructed for specific same contents of the opera. This sort of comparison study is crucial when there is a strict parameter that is the opera itself. It was found that three opera stages have very different stage designs and unique ways of expressing the opera flow and contents. However, in some parts, very similar lightings were used. This sort of multi-disciplinary study can be helpful to re-think the interior environment by applying light as a fundamental medium.

• Korean Journal of Food Science and Technology
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• v.31 no.5
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• pp.1275-1282
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• 1999

The quality changes by storage conditions were examined in order to establish the optimum CA storage conditions of unbagged and bagged 'Fuji' apples. The weight retention rate of apples was higher in CA than air storage, but there was no significant difference among CA conditions. Bagged apples had higher weight than unbagged apples under the same condition. The loss of flesh firmness, titratable acidity and green color of apples was retarded more effectively in 1% $O_2$ than 3% $O_2$ storage, and in $0^{\circ}C$ and 3% $CO_2$ than $2^{\circ}C$ and 1% $CO_2$ with 1% $O_2$ Titratable acidity tended to decrease more rapidly in bagged than unbagged apples. Soluble solid was not affected by storage conditions. Internal browning was developed within 2 months in 1% $O_2$ and 3% $CO_2$ storage, but there was no significant difference according to storage years and bagging treatment. At the sensory evaluation, unbagged apples were rated as higher quality than bagged apples after 8 months storage, and the hardness, juiciness, acidity and overall acceptability of apples stored in 1% $O_2$ were Higher than those in 3% $O_2$ but those of apples stored in 1% $O_2$ were not affected by $CO_2$(1, 3%) and temperature(0,\;$2^{\circ}C)$ differences. Above results suggest that the optimum CA storage condition of 'Fuji' apples is $0^{\circ}C,\;1%\;O_{2}+1%\;CO_2$.

• Journal of the Korea Convergence Society
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• v.11 no.7
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• pp.73-78
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• 2020

Modern architecture and design show experiments that practice exchange and convergence with other genres through expansive thinking. This study aims to propose the use of graphic skins as a means of dematerializing and invisiblizing expressions of architecture. The method of realizing 'invisible architecture' can be largely divided into methods that use materials that manipulate light and graphic approaches based on trickery techniques. The exterior wall graphic of the special stage in Seoul Plaza can be said to be an attempt of dematerialization to make the building structure light and transparent, and a case to propose the role of super graphics to maintain the identity of the original place by erasing disharmonious elements from the field of view. It is expected that the graphic skin will be used as a powerful means of expression in the era of 'invisible architecture' as an effective camouflage method and media beyond the means of decorating the exterior walls of the completed facilities.

• Journal of the Korea Convergence Society
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• v.8 no.7
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• pp.7-13
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• 2017

Robot performances in public places are conducted for the purpose of promoting robot technology and inducing interest in events, exhibitions, and streets instead of dedicated stages. This paper extracts robot images in real time from a robot operation in front of a green chroma key cloth, and synthesizes them on various stage images. A simple and robust method for extracting a foreground robot from a chroma key background without a user's preset is proposed. After increasing the color difference between the background and the foreground, this method automatically removes the background based on the histogram of the difference information, thereby eliminating the need for a user's preset. The simulation shows 98.8% of foreground extraction rate and experimental results demonstrate that the robots can effectively be extracted from the background.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.405-414
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• 2022

The purpose of this study is to discover the possibility to expand the aesthetic interpretation of dance works. For this purpose, this study analyzes Maguy Marin's (1981) because it shows Sigmund Freud's concept of uncanny and grotesque images well. The theoretical framework of this study was centered on previous academic studies, and Hoffman's Der Sandmann(1816) was presented as an example to help the conceptual understanding of uncanny and grotesque. The analysis of of Magi Marin was divided into stage space, dancer's movements, costumes, and voice. As a result of this study, it was discovered that is a work with an experimental spirit that deviated from the stereotypes of traditional stage aesthetics. And it was implemented as uncanny and grotesque images in the choreography structure. In addition, as the changes of the times have a great influence on the creation of dance works, it is thought that the discourse of various aesthetic interpretation methods in dance works can provide various directions for dance creation in the future. Therefore, this study will be helpful in raising the aesthetic value and status of dance art.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.395-402
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• 2007

문화 콘텐츠의 수용 및 체험 방식에는 민족적, 문화적 차이가 존재한다. 일본에서 본격적으로 시작된 가라오케는 한국으로 진출하면서 노래방이라는 밀폐된 공간을 중시하는 형태로, 미국과 유럽에서는 무대라는 열린 공간을 중시하는 형태로 변형되었다. 같은 문화 콘텐츠를 수용하는데도 문화와 민족에 따른 공간적 차이가 관찰된다. 여기서 문화 콘텐츠를 수용하고 그 것을 통해 즐거움을 얻는 과정을 몰입이라고 본다면, 공간과 문화 콘텐츠 사이에는 특별한 관계가 존재한다고 할 수 있다. 본 연구는 이와 같이 공간 사용과 몰입의 상관관계를 실험을 통하여 고찰하고 추후 노래방의 경쟁력 강화 빚 세계화를 위한 효과적인 몰입 요소 도입 및 운용에 적용할 수 있는 연구결과를 제안한다.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.