• The Journal of the Acoustical Society of Korea
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• v.20 no.2
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• pp.66-76
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• 2001

Conventional echo watermarking techniques often exhibit inherent trade-offs between imperceptibility and robustness. In this paper, a new echo embedding technique is proposed. The proposed method enables one to embed high energy echoes while the host audio quality is not deteriorated, so that it is robust to common signal processing modifications and resistant to tampering. It is possible due to echo kernels that are designed based on psychoacoustic analyses. In addition, we propose some novel techniques to improve robustness against signal processing attacks. Subjective and objective evaluations confirmed that the proposed method could improve the robustness without perceptible distortion.

• Fashion & Textile Research Journal
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• v.26 no.3
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• pp.239-250
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• 2024

This study aims to investigate the factors influencing donation intention when the option to donate is presented during a purchase decision. Through an experimental design, we examined how price differences and reference group effects impact donation intention. We created stimuli with three price difference conditions (high, low, and control) and two levels of referent power (high and low), and involved 480 Korean consumer panels in the experiments. After controlling for psychological reactance levels, a two-way MANCOVA confirmed the main effects of price difference and referent power but found no interaction effect between these variables. Notably, consumers were less likely to feel guilty for not selecting the donation option when its price was slightly higher than that of the non-donation option, compared to the scenario where the prices were the same. Additionally, consumers exposed to high referent power experienced greater irritation, guilt, and shame if they did not choose the donation option compared to the low referent power group. Multiple regression results showed that guilt significantly influenced the intention to purchase a donation option, whereas irritation and shame did not. These findings suggest that understanding situational factors such as price differences and referent power can help develop effective marketing strategies and encourage voluntary participation in donations.

• Cartoon and Animation Studies
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• s.13
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• pp.83-96
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• 2008

Digital production method in animation has enabled us to reconstruction the real world in the way we had sought in visual all. However, spectator's visual desire is not satisfied with mere photographic visual reconstruction. It demands traditional picturesque qualify with involves a great deal of contingencies and errors. Naturally, Digital film technology has also sometimes tried to simulate analogue technique such as hand drawing so on. This is not caused by nostalgia, but by recursive instinct. The spectator's visual desire for media doesn't remain only precision of real world but require mental demand on successive visual and perceptive errors while repealing ripeness of new media and going through perception and recognition. This spectator's desire and visual art technology pursuits variously its visual perfection in history.

• The Journal of the Acoustical Society of Korea
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• v.22 no.5
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• pp.367-374
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• 2003

In this paper, we propose an audio watermarking method using the attribute of tonal masker. First, the attribute of tonal masker as an audio watermarking attribute is analyzed. According to existing researches, it is possible to be imperceptible modulation for the energies of the frequencies that compose a tonal masker. And when the relation between the tone energy and the left or right frequency energy after various signal processing is compared with the one before the processing, very few changes are showed. We propose an audio watermarking method using these attributes of tonal masker. A watermark bit is embedded by the modulation of the difference between the two neighboring frequency energies of a tone. In the detection, the modulated the tonal masker is searched using the key wed in the embedding without original audio and the embedded watermark bit is detected. After each attack of noise insertion, band-pass filtering, re-sampling, compression, echo transform and equalization, the detection error ratios of the proposed method were average 0.11%, 1.26% for Classics and Pops. And the SDG(Subjective Diff-Grades) scale evaluation of the sound quality of the watermarked audio result in the average SDG -0.31.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.