• Journal of Practical Engineering Education
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• v.14 no.2
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• pp.387-392
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• 2022

To participate in global carbon neutrality, the Korean government is also planning to carry out zero-energy building certification for all buildings by 2030 through the enforcement decree of the 'Green Building Support Act'. Accordingly, the government is providing various projects related to solar power generation, which are relatively close to life. In particular, roof-mounted photovoltaic power generation systems are attracting attention in terms of using unused space to produce energy without destroying the environment, but low power generation efficiency compared to other photovoltaic power generation facilities is pointed out as a disadvantage. Therefore, in this paper, to solve this problem, we propose an efficient solar panel angle variable system through research on the solar panel structure for single-axial solar tracking, and also consider the application environment of the roof-mounted solar power generation system. Suggests measures to prevent damage and secondary damage. In addition, it is judged that it is possible to control the solar panel based on ICT convergence and configure the accident prediction safety system to link the project-based education program.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.979-986
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• 2022

In this study, the virtual exhibition using 3D architectural space was analyzed in terms of the viewer's experience. For this purpose, the analysis items of the virtual architectural space include whether the actual architectural space is reproduced, the introduction of surreal elements, the degree of freedom of movement and circulation, the level of photorealism of spatial expression, the level of reproduction of the exhibits and information provision method, and the interaction with other participants. Six virtual exhibition projects designed by a well-known architect were selected and analyzed. Three directions were found through the analysis. First, even when designing a virtual exhibition space with a high degree of freedom, there is a tendency to present a familiar architectural environment. Second, the current method of creating a virtual architectural space is that the method using a 360-degree rendering image and the method using a game engine coexist with pros and cons. Third, the interaction between participants in the virtual exhibition is implemented only by using a game engine. It is expected that the virtual space production environment using the game engine to be developed will become more advantageous in the future.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.155-160
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• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.4
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• pp.189-196
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• 2023

As the manufacturing paradigm shifts, various collaborative robots are creating new markets. Demand for collaborative robots is increasing in all industries for the purpose of easy operation, productivity improvement, and replacement of manpower who do simple tasks compared to existing industrial robots. However, accidents frequently occur during work caused by collaborative robots in industrial sites, threatening the safety of workers. In order to construct an industrial site through robots in a human-centered environment, the safety of workers must be guaranteed, and there is a need to develop a collaborative robot guard system that provides reliable communication without the possibility of dispatch. It is necessary to double prevent accidents that occur within the working radius of cobots and reduce the risk of safety accidents through sensors and computer vision. We build a system based on OPC UA, an international protocol for communication with various industrial equipment, and propose a collaborative robot guard system through image analysis using ultrasonic sensors and CNN (Convolution Neural Network). The proposed system evaluates the possibility of robot control in an unsafe situation for a worker.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.351-361
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• 2019

The objective of this article is to identify an alternative strategy for brand marketing through a case study of the Korean boy band BTS, which has recently seen a huge success in the global music scene. BTS has actively used transmedia storytelling as a tool to survive in the competitive music market. Transmedia storytelling refers to stories that are expanded across different media platforms, engaging audiences to explore from one medium to another to undergo multiple experiences. It gives audiences various ways of enjoying cultural content and participating in cultural content production through numerous media outlets. BTS has established and spread its fictional universe through albums, music videos, short films and webtoons, and has launched diverse projects where fans actively share, create, and play with their content. By inviting fans to actively participate in and interact with the BTS universe spreading through multiple media platforms, BTS can keep its fans engaged and energized. These activities have generated an emotional bond between BTS and their fans, which further leads to a worldwide fandom, based not on a producer-customer relationship but on mutual trust. The BTS case demonstrates the potential of transmedia storytelling as a useful benchmark to provide a positive brand experience for customers, which eventually enhances brand attachment and brand loyalty.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.221-226
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• 2023

Can art really change the way people understand and interact with nature in order to reduce the possibility that ecological disasters will continue to expand due to failure to correct human actions that damage the global environment? What is the artistic methodology to realize environmental justice and sustainability of life on Earth? This paper seeks to find answers to these questions. Finding ways to look at, feel, understand, and act for the global environment, that is, the process of considering the way of orientation toward the global environment will lead to critical thinking of the history in which human centered behaviors treated nature as a resource for exploitation rather than a source of life. Therefore, this paper pays attention to the ecological art of The Harrison Studio, which is called the 'pioneer of the environmental art movement'. In the main body, The Harrison Studio's major projects are analyzed to find ecological implications and aesthetic strategies. In particular, their dialogical methodologies are demonstrated in detail. To this end, the significance of various collaborative practices of The Harrison Studio is explained. The Harrison Studio contributed to expanding the scope of practical experience and understanding of the value of eological art. They have the power to look back on the direction of ecological consciousness by constantly producing mutually connected and overlapping epistemic dimensions without being limited to any uniform rules of exchange.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.215-220
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• 2023

Network technology used as a physical interface to retrieve, store, and exchange data is leading the era of data capitalism in the 21st century. The capacity of network technology dominates almost all communication in everyday life, and makes social understanding and experiences in the physical world visible in cyberspace. The movements of human bodies and objects in cyberspace are placed in a social context. This paper paid attention to these phenomena and examined the cases of activism that raised real problems through cyberspace. In particular, the focus of the study is the digital activism of the Electronic Disturbance Theater, which combines critical art and thinking for democracy with the realm of information and demonstrates aesthetic imagination. The first chapter of the main body briefly outlines the meaning activism as a social movement in cyberspace. The second chapter looks back on the alternatives of <FloodNet>, which represents the early activism performance of EDT. And then in the last chapter, the poetic significance of the <Transborder Immigrant Tool> is analyzed. Through this process, this paper demonstrates that the activism performance of the EDT is a critical aesthetics that encourages imagination for alternatives. It also argues that Electronic Disturbance Theater has contemporary value as an avant-garde art that actively utilizes the medium of network technology and integrates performance art and politics.

• KIPS Transactions on Computer and Communication Systems
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• v.11 no.6
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• pp.175-184
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• 2022

Blockchain is being studied in various fields such as logistics, fintech, medical care, and the public sector. In the public information software project, some deliverables are omitted because the developed deliverables and the deliverables requested by the project management methodology do not match, and an additional process is required for payment. In this paper, we propose the deliverables management system for public information software project which is configured a distributed environment using the Ethereum blockchain and which has an automatic payment system only when all deliverables are approved. This system can keep the service available in case of system failure, provide transparency and traceability of deliverables management, and can reduce conflicts between the ordering company and the contractor through automatic payment. In this system, the information of deliverables is stored in the blockchain, and the deliverables that their file name is the hash value calculated by using the version information and the hash value of the previous version deliverable, are stored in the SFTP server. Experimental results show that the hash value of the deliverables registered by the contractor is correct, the file name of the deliverables stored in the SFTP server is the same as the hash value registered in the Ethereum blockchain, and the payment is made automatically to the Ethereum address of the contractor when all deliverables are approved.

• Journal of the International Relations & Interdisciplinary Education
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• v.3 no.2
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• pp.1-27
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• 2023

This study aims to analyze the current situation and problems and explore the development plan of the department of education as a general graduate school at P university. Previous studies dealt with the development plans were reviewed and comprehensive analyses conducted for the department of the general graduate school at P university. Public discussions and debates for the enrolled students in the course of Master and Doctor's degree were held during the semester to achieve the research purpose. The results reached in the study are as follows. First, it is necessary to re-establish the objectives and identities of the department as a general graduate school to share vision with the members. Then, it needs to be considered as the changes of Master and Doctor's course in the academic affairs organization and operation system for the multidisciplinary education problem-solving. Third, it is vital to plan substantial co-work, cooperative instruction and projects for the feasible research and practice. Finally, the open network among the graduate school members and human/physical environments are needed for the higher level of internationalization and effectiveness. The development plan would not be individually pursued but regarded as the organic relations embracing various and influential factors to the system and support of the department. In addition, it is required to make persistent efforts for the personal or communal dimension to develop the department of education as a general graduate school.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.83-88
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• 2024

This paper analyzes the historical significance and aesthetic meaning of the emergence of 'artists as theoreticians,' a major aspect of contemporary art criticism practice, focusing on the editorial project of the British monthly visual arts magazine Studio International. The sharing of writings about art through publications confirms the lens of critical perspectives on contemporary art and serves as an opportunity to reflect on broader political and cultural conditions. In particular, this paper can function as a resource for assessing the art historical horizons created by the connection between artists and publications, rather than theorists or critics, on the magazine platform. This paper focuses on the debates formed through Studio International in the late 1960s, examining the magazine's stance on new developments in art, the practice of defining critical terms that accompanied it, and the responses to them. The texts of 'artists as theoreticians' such as Victor Burgin and Joseph Kosuth, published in Studio International, overcame the conventionality of art that relies on formal aspects, and argued that the concept of art as something named by the artist is possible as art that does not require the mediation of objects. The discourse practices of these artists became an important factor in destroying the authority of the historicist critical paradigm, thereby acquiring the art historical value of artists who took the position of theoreticians dealing with art.