• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

• Korean Association for Visual Culture
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• v.16
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• pp.131-161
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• 2010

This thesis investigates the cultural meanings of the first optical instrument, Camera obscura, in the pre-modern age, while it explains the development as well as the use of the Camera obscura in Europe and Korea. For this purpose the thesis traces the significant phases of the historical developments of the Camera obscura from L. da Vinci, G. B. della Porta, D. Barbaro, A. Kircher to J. Zahn etc. The Camera obscura was not only the symbolic instrument of the modernism in the sense that human being wanted to observe the outer world by himself and to be freed from the viewpoint of the christianity, but also was the forerunner of the modern visual culture, because it first time reproduced the artificial image of the natural world. Since the second half of the 17th century the box-type reflex Camera obscura had been produced, it began to be used as aid to drawing for painters like J. Vermeer, A. Canaletto and J. Reynolds etc. throughout Europe. It tells the evidence of the close relation between art and technology in the pre-modern age. Around the end of the 18th century the Camera obscura was brought to Korea, the closed country of the Fareast, by the scholars of the so-called 'Realist school' (Silhak-pa) who went to Beijing to acquire knowledges on the Western science from the European priests. In 1780s Yak-yong JUNG, one of the representative scholars of the Realist school, experimented the Camera obscura, and then, it was used for sketches of higher aristocrats' portraits by the supreme portrait painter of that time, Myoung-ki LEE. Those were possible only under the reign of the culturally liberal and reformative King, Jung-jo (ruled 1776-1800), and after his retreatment the inquiry of the Camera obscura had been dimished. It is not a historical coincidence that the Camera obscura could be examined and used in the period of the Enlightment both in Europe and Korea.

• Korean Association for Visual Culture
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• v.23
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• pp.329-368
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• 2013

This thesis investigates the relationship of the 18^th century European landscape painting and the scientific (optical) instruments like Camera obscura and Camera lucida. Based on the fact that some landscape painters, 'veduta painters', at that times might have used or surely used these optical instruments in their sketches/drawings, it explores the reasons for using them and their working process with them, and analyses the advantages/disadvantages here as well as the aesthetic problems in the cases of the Italian painter Antonio Canaletto (or Canal, 1697-1768), the British topographic artist Thomas Sandby (1721-98) and the British chemist/optician Willian Henry Fox Talbot (1800-77). Advantages of using Camera obscura/lucida are rapidity in drawing, truthful representation of nature/reality and 'accurate' fulfilling of perspectival structures. But partly 'inaccurate' or simplified depictions as disadvantages can be traced in drawings/sketches made by using these instruments. Another problem lie in the subordination of the artistic work to the technical devices, but for artists still remain the creative working process in painting like coloring, tone and chiaroscuro etc. Therefore, it can be maintained that the optical instruments have played a role of the subsidiary tool as an aid to painting.

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Journal of the Korean Society for Library and Information Science
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• v.57 no.4
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• pp.5-24
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• 2023

In ancient Egypt, temples were not only religious sanctuaries but also community centers. One of the core spaces created in the temple is the facility where priests and scribes copied and preserved texts on papyrus and other media. Its common designation was 'pr-mḏȝ'(House of Books) and the 'per-(nw)-seshw'(House of Scrolls). The general term used during that time was 'Per Ankh', and the modern term for it is 'temple library'. Therefore, this study first identified the character and identity of the Per Ankh attached to the temple, and then traced whether it is appropriate to designate 'healing place of the souls' depicted on the hypostyle hall(Per Ankh) in the Ramesseum(mortuary temple) built by Ramses II of the New Kingdom as a library. As a result, Per Ankh, a hieroglyph combining the Per(house) and Ankh(life), was revealed to be a multi-purpose complex facility consisting of a learning and research center, a treatment and healing center with medical facilities and sanatoriums, a religious ceremony and a center for the celebration of eternal life, a scriptorium and a library. Therefore, the traditional argument that Per Ankh refers to a library cannot be justified. In the same context, the inscription 'Ψυχῆς ἰατρεῖον' on the doorplate of the hypostyle hall of the Ramesseum, which was first introduced by Greek historian Hecataeus of Miletus in the 4th century BC, was translated into Latin as 'Psychēs Iatreion' by Diodorus Siculus in the 1st century BC and described as the motto of the sacred library. However, Psyche is the goddess of Greek and Roman mythology, and Iatreion means hospital(clinic, healing center) and pharmacy, so Per Ankh in the Ramesseum is a space to heal the soul of the pharaoh (Ka). Therefore, 'Psychēs Iatreion = library' is a distortion and a mistranslation. It is not the motto of the library, but a metaphor for the Per Ankh.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.563-568
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• 2023

The government's strengthening of the standards for mentally ill patients and expanding the scope of examinations to the entire nation reflects the changing times. According to the OECD's announcement (2021), the incidence of depression and anxiety has more than doubled since the prolonged COVID-19 pandemic in countries around the world, with Korea's prevalence ranking first. However, only 12.1% of those who have been diagnosed with mental disorders received counseling and treatment from experts. The difference between depression and simple depression is significant depending on whether it is medically treated or temporary, but it can be seen that the continuation of depression is depression. In order to reduce this depression, Kandinsky's work was visualized and created. In a study conducted by changing the playback speed of the produced Kandinsky image, beta and gamma values, which showed the largest deviation when compared to depressive patients and normal people, increased significantly when viewed at 90fps, which was most effective in relieving depression. Artistic creations are bound to be accepted differently depending on the individual's perspective, but it is hoped that research that can improve the phenomenon of individuals suffering from depression by integrating artificial intelligence and traditional mental health approaches will be further developed and widely used for treatment.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.365-370
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• 2023

Royalty contributed to the development of the non-fungible token (NFT) ecosystem as a reward system that pays a portion of the sales to the creator whenever transactions occur. This study quantitatively analyzes the impact of the abolition of royalties, which is being expanded by some NFT marketplaces, on the NFT market, and qualitatively analyzes the results of the impact. The analysis results are as follows. First, the number of NFT mints is decreasing by causing creators to leave the NFT market and reducing new entry. Second, major NFT projects have refused to trade with marketplaces that have abolished royalties, leading to a decrease in the number of transactions. Third, the abolition of royalties has undermined the motivation of NFT creators to continue to develop their projects, leading to a drop in NFT floor prices. This study is expected to contribute to reducing the current negative impact in the short term by suggesting how the NFT community provides incentives to owners who voluntarily pay royalties independently of the policy of the NFT marketplace. In addition, it suggests that in the long run, fundamental solutions to the problem of abolishing royalties require improvements in technology related to royalty payments, cooperation between NFT marketplaces and NFT creators, and institutional support related to royalties.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.357-363
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• 2024

As AR display virtual technology enters public learning life extensively, the way in which reality and virtual connection are connected is also changing. The purpose of this paper is to study the expression between the 3D connection sensory information visualization experience and virtual reality enhancement through the visual direction sensory information visualization experience of the plane. It is analyzed by examining the basic setting method compared to the current application of AR display and flat visualization cases. The scope of this paper is to enable users to have a better experience through the relationship with sensory visualization, centering on eye tracking technology in the four categories of AR display connection design: gesture connection, eye tracking, voice connection, and sensor. Focusing on eye tracking technology through AR display interaction and current application and comparative analysis of flat visualization cases, the geometric consistency of visual figures, light and color consistency, combination of multi-sensory interaction methods, rational content display, and smart push presented sensory visualization in virtual reality more realistically and conveniently, providing a simple and convenient sensory visualization experience to the audience.

• Korean Journal of Materials Research
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• v.7 no.4
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• pp.347-353
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• 1997

BaTiO$_{3}$물질은 뛰어난 유전체로 널리 알려져 왔으며 특히 Heywang등이 제안한 PTCR특성은 이 물질의 응용범위를 세라믹 필터, 회로보호소자, 온도감지소자 및 저항가열장치 등으로 확대시켰다. 이러한 특성의 발현기구는 아직까지 밝혀지지 않은 상태이지만 제 특성을 향상시키기 위한 노력은 계속되어왔다. 특히 개발목적에 맞게 온도에 따른 정저항 특성(PTCR; Positive temperature constnat of resistivity phenomena)을 설계하려는 시도가 계속되어 왔으며 그 중에서도 페로브스카아트계의 2가와 4가의 양이온 자리를 등가나 원자가가 다른 양이온으로 치환하여 특성을 개선하려는 시도가 계속되어 왔다. 특히 $Ca^{2+}$나 Sr$^{2+}$는 $Ba^{2+}$자리를 치환할 수 있는 물질로 개별적인 첨가에 대한 연구는 많은 연구자들에 의해 진행된 상태이지만 최종적인 영향이나 해석에 대해서는 연구자들간에 이견이 많은 상태이다. 이번 실험에서는 BaTiO$_{3}$계에 합성한 (Ca, Sr)TiO$_{3}$를 Ca와 Sr의 상대적인 비를 변화시키면서 전체적인 첨가량을 변화시켜 그에 따른 전기적 특성 및 미세구조를 살펴보았다. (Ca, Sr)TiO$_{3}$의 첨가로 상온저항 및 PTCR특성을 변화시킬 수 있었으며 이를 통해 PTCR물질의 활용범위를 넓힐 수 있는 발판을 마련할 계기가 되었다. 특히 기존의 연구가 주로 개별적인 Ca나 Sr의 첨가에 의한 미세구조와 전기적 특성변화의 연구에 치중해 있었던 것과는 달리 Sr과 Ca을 함께 치환하여 상대적인 비가 특성에 더 중요한 영향을 끼치는 것을 확인하였으며 적절한 합성비를 선택하면 퀴리온도에서의 저항변화폭을 유지하면서 상온저항을 낮출 수 있음을 확인하였다.문했던 연구소인 Shanghai Research Center of Biotechnology, Shanghai Institute of Industrial Microbiology 및 Scientific Research Institute of Food and Fermentation Industry을 소개하고저 한다. 짧은 기간의 방문이라 주로 해당연구소의 자체소개 자료를 중심으로 방문하면서 느낀점을 기술하고저 한다.초염기성암 기원의 사문암이 열수변질작용을 받아 생성되었음을 명확하게 지시하며, 따라서 활석 광석내에 존재하는 녹니석은 활석의 근원 광물로서 녹니석편암 및 녹니석 편마암 매의 녹니석이 활석화되고 남은 잔존광물이 아니라, 주변암에 의해 성분상의 영향을 받은 열수와 사문암과의 변질교대작용에 의한 활석화과정 중에 주로 생성된 것으로 추정된다. 이러한 결과는 연구지역의 활석광상이 초염기성암의 사문암화 작용과 활석화 작용의 두 가지 변질작용에 의해 형성되어졌음을 알려준다.농도 증가 없이 폐 조직에 약 50배 정도의 고농도 cisplatin을 투여할 수 있었으며, 또한 분리 폐 관류 시 cisplatin에 의한 직접적 폐 독성은 발견되지 않았다이 낮았으나 통계학적 의의는 없었다[10.0%(4/40) : 8.2%(20/244), p>0.05]. 결론: 비디오흉강경술에서 재발을 낮추기 위해 수술시 폐야 전체를 관찰하여 존재하는 폐기포를 놓치지 않는 것이 중요하며, 폐기포를 확인하지 못한 경우와 이차성 자연기흉에 대해서는 흉막유착술에 더 세심한 주의가 필요하다는 것을 확인하였다. 비디오흉강경수술은 통증이 적고, 입원기간이 짧고, 사회로의 복귀가 빠르며, 고위험군에 적용할 수 있고, 무엇보다도 미용상의 이점이 크다는 면에서 자연기흉에 대해 유용한 치료방법임에는 틀림이 없으나 개흉술에 비해 재발율이 높고 비용이 비싸다는 문제가 제기되고 있는 만큼 더 세심한 주의와 장기 추적관찰이 필요하리라 사료된다.

• Journal of Animal Environmental Science
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• v.11 no.3
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• pp.153-160
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• 2005

This study was conducted to determine the effect of floor type of finishing building and increasing market weight of finishing Pigs on Performance, carcass traits and pork quality. Four hundred and forty-four finishing pigs were confined and administered with different floor type(concrete slat and bedded with sawdust) and increasing market weight(110kg to 130kg) of finishing building. The result obtained from this study were summarized as follows; 1. There was no significant difference between the floor type of finishing building in the body weight gain, feed intake and gain per feed. And also increasing market weight of finishing pigs was not affected the performance of finishing pigs. 2. Increasing market weight of finishing pigs affect the carcass yield. The market weight at 130kg showed more amount of each cut of carcass, especially the belly portion was higher, but backfat thickness was not different. 3. Carcass traits did not show any significant difference due to the difference of market weight of finishing pig and floor type of finishing building. 4. There was no significant difference in the chemical compositions and meat color of pork loin between the floor type of finishing building and increasing market weight of finishing pigs.