• Proceedings of the Korean Institute of Intelligent Systems Conference
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• 2006.11a
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• pp.45-49
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• 2006

홈네트워크 시스템의 본격적인 보급과 함께 가정용서비스 로봇의 최근 연구 성과들은 인간과 지능로봇이 가정에 공존하며 서로 의사소통을 할 수 있는 시대가 가까운 미래에 현실화 될 수 있음을 보여주고 있다. 그러나 가정의 환경적인 특징은 open되어 있기 때문에 그러한 환경에 적응하고 주어진 임무를 수행하는 데는 단일 로봇 또는 단일 홈서버 보다는 로봇을 포함하는 홈네트워크 시스템 내의 여러 장치들이 어울려 분산처리를 수행하는 multi-agent 시스템이 일반적으로 더 좋다고 알려져 있다. 따라서 본 논문은 홈네트워크 시스템 환경에서 가정에서 필요한 agent들을 정의하기 위한 framework 모델을 구축하고 각 agent 간의 통신 protocol architecture를 제시한다. 또한 로봇 또는 홈서버의 단일 지능이나 기능보다는 그 안에 존재하는 복수개의 agent instance들의 집합으로 agent를 정의하고 각 agent 내외에서 agent들 사이의 협력(cooperation)과 (타협)negotiation을 통해 환경과 적응하는 방법 및 사람과 교감(interactive)하는 방법을 제시한다.

• Cartoon and Animation Studies
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• s.42
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• pp.293-313
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• 2016

The target stimulating human's sensitivity can include several things; the first is human like us including beautiful women and cute babies. The next ranking is the dog animal that established itself as a human's companion. It is the 3B law(beauty, baby, beast - much used in the ad or election due to the positive image) that is widely used in the advertising. This relationship is being expressed in the art history for a long time. Dogs that have lived a history more than 10 thousand years with humans hunted, protected flock of sheep, and kept the farmer's house and property. They have been human's assistants and companion who entered into the modern urban culture. Like this, dogs have adapted to several situations endlessly such as the nomadic life, farming, country life, and urban life. This paper will explore the close relationship of humans and companion animals through various icons of dogs and pups that appeared through a number of artists' skills. The companion animal means an animal that lives with people, which means the relationship of round-trip rather than the one-way relation those each other gives a help. Therefore, there artist tries to examine the figure of great hunter for survival, highly evaluated figure as the royal dignity, and the mascot-like figure delivering the daily happiness to modern people as presenting joy through a discussion of the 'countenance', a visual signal of the dogs and pups. They have been influenced by screen and popular media in 20C. Snoopy, a main character of and the movie <101 Dalmatians> made a success on the theater and television when Beagle and Dalmatian were prevalent. These main characters make audience feel happy involuntarily. Like this, the continuous and old friendship of the human and dogs will be confirmed again through the icon of dogs and pups consisting of the communication of artists and readers in the modern shape art, and it is hoped to be a psychological stabilizing effect to modern people living in the intense modern society. Therefore, it is expected this study paper will be reborn as a new text and be expanded as an effective communication in the journey of dogs and human in the future in investigating the communion of dogs and human.

• Journal of Digital Convergence
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• v.15 no.1
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• pp.109-115
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• 2017

This thesis is a study about how leadership communicates and interacts with the public and affects structure of emotions. Leadership has been paid attention by various strata, and interest about leader is gradually getting higher throughout overall society. In this situation, drama that is a medium that approaches to the general public friendly and easily and affects emotionally the public suggests problems about overall contemporary society and culture and plays a role to solve the desire. Therefore, if we analyze leadership that appears on drama, we may grasp directional nature and meaning aboutwhich figure of the leader it shows. As a research method, we use Spear's servant leadership factors, who categorized factors necessary for leaders. A soap opera named Ukssinamjeonggi that pursues a common goal to solve affairs and problems in relationships among members in an organization is selected as the analytic subject. As a result of the analysis, listening, empathy, healing, awareness, and conceptualization which are factors of servant leadership turn out to be the factors that help subordinates demonstrate their potentials; conceptualization, persuasion, awareness, and foresight are usually shown by supervisors. Servant leadership was the most effective when a leader communicates with members through middle managers to grow the community.

• Archives of design research
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• v.16 no.4
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• pp.395-404
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• 2003

Contemporary human beings have tendency to orient themselves to a natural environment while they have adapted themselves to artificial surroundings, which implies that a development of interior space where man, nature and space are in a sympathetic harmony with one another through overcoming non-naturalness and non-humanization is seriously needed. There are two methods in that; one concerns an introduction of environment-friendly expressions into the interior space as its natural factor, and the other involves expressing natural objects or beauties with orderly change commonly seen around in form of artificial design. On this study, the definition of ″Environment-friendliness″ and how it has evolved itself with time are first considered to search out for environment-friendly characteristics in the interior design. And then, among the characteristics of environment$.$friendly expressions widely observed in the interior space, the two aspects are studied for our purpose; an introduction of natural factors and an expression with artificial design. For the study, public facilities located in Ulsan were proposed since they accommodated lots of people. To meet the needs of the times that the development of environment-friendly space should reflect the factors of beauty and comfort enough to live in, relevant studies should be more activated and specialized. When there are a wide understanding of and a profound work upon introducing natural factors as well as ones of sound design into the interior space, a desirable environment-friendly expression could be created.

• Journal of Intelligence and Information Systems
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• v.27 no.2
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• pp.55-78
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• 2021

Tosolve complex and diverse social problems and ensure the quality of life of individuals, social robots that can interact with humans are attracting attention. In the past, robots were recognized as beings that provide labor force as they put into industrial sites on behalf of humans. However, the concept of today's robot has been extended to social robots that coexist with humans and enable social interaction with the advent of Smart technology, which is considered an important driver in most industries. Specifically, there are service robots that respond to customers, the robots that have the purpose of edutainment, and the emotionalrobots that can interact with humans intimately. However, popularization of robots is not felt despite the current information environment in the modern ICT service environment and the 4th industrial revolution. Considering social interaction with users which is an important function of social robots, not only the technology of the robots but also other factors should be considered. The design elements of the robot are more important than other factors tomake consumers purchase essentially a social robot. In fact, existing studies on social robots are at the level of proposing "robot development methodology" or testing the effects provided by social robots to users in pieces. On the other hand, consumer emotions felt from the robot's appearance has an important influence in the process of forming user's perception, reasoning, evaluation and expectation. Furthermore, it can affect attitude toward robots and good feeling and performance reasoning, etc. Therefore, this study aims to verify the effect of appearance of social robot and consumer emotions on consumer's attitude toward social robot. At this time, a social robot design evaluation model is constructed by combining heterogeneous data from different sources. Specifically, the three quantitative indicator data for the appearance of social robots from the ABOT Database is included in the model. The consumer emotions of social robot design has been collected through (1) the existing design evaluation literature and (2) online buzzsuch as product reviews and blogs, (3) qualitative interviews for social robot design. Later, we collected the score of consumer emotions and attitudes toward various social robots through a large-scale consumer survey. First, we have derived the six major dimensions of consumer emotions for 23 pieces of detailed emotions through dimension reduction methodology. Then, statistical analysis was performed to verify the effect of derived consumer emotionson attitude toward social robots. Finally, the moderated regression analysis was performed to verify the effect of quantitatively collected indicators of social robot appearance on the relationship between consumer emotions and attitudes toward social robots. Interestingly, several significant moderation effects were identified, these effects are visualized with two-way interaction effect to interpret them from multidisciplinary perspectives. This study has theoretical contributions from the perspective of empirically verifying all stages from technical properties to consumer's emotion and attitudes toward social robots by linking the data from heterogeneous sources. It has practical significance that the result helps to develop the design guidelines based on consumer emotions in the design stage of social robot development.

• Journal of the Korean Geographical Society
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• v.49 no.5
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• pp.716-727
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• 2014

Yeon-Am's observation of natural objects will be able to contribute to the cultivation of the observation skills. In this study, I analysed Yeon-Am's observation skills in the book "Yorha Ilgi". Yeon-Am's observation skills are as follows. First, Yeon-Am observed a specific and detailed. Second, Yeon-Am was examined by utilizing the five senses and presented its risks and limitations. Third, Yeon-Am observed with the equality between man and nature and looked at the same level of human and nature. Fourth, Yeon-Am expressed those observed by utilizing the shaping techniques vividly. Fifth, Yeon-Am found a variety of features by a variety of perspectives. The orgin of Yeon-Am's writing is based on specific and detailed observations of the natural objects, joining nature, shaping techniques and diversity in perspective.

• Proceedings of the KAIS Fall Conference
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• 2006.05a
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• pp.513-516
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• 2006

인터넷의 발달로 인터넷 사용자는 기하급수적으로 증가하게 되었으며, 인터넷을 기반으로 하는 수많은 응용프로그램들이 개발되고 있다. 인터넷상에는 수많은 사이트(site)들이 존재하며 방문자들의 주목을 받기 위하여 여러 가지 기법을 선보이고 있다. 그러나 컴퓨터상의 정적인 2차원 평면하에서는 현실감 및 입체감을 경험하는 것이 한계가 있다. 따라서 플래시(flash)와 같은 플러그인(plug-in) 및 동영상을 도입하여 동적인 컨텐츠를 제공하는 사례가 늘고 있으며 한편으로 최근 가상현실(Virtual Reality) 기법을 이용한 사이트들이 점차 증가하고 있는 추세이다. 가상현실은 컴퓨터가 제공하는 3차원의 컴퓨터 그래픽 기술을 이용하여 사용자와 온라인으로 상호대화를 하는 기법이라고 간단히 정의할 수 있다[2,3]. 가상현실을 이용하여 3차원 실시간 구현 기술을 웹에 적용시킴으로서 3차원 공간에서 현실감을 느낄 수 있게 함과 동시에 입체적인 정보를 사용자에게 제공할 수 있게 하는 기법들이 속속 선보이게 되었다. 현재 다양한 인터넷 기반 3차원 가상 현실 기술이 각각 서로 다른 기술 및 특징들을 가지고 나와 있다. 3차원 가상 공간을 구현한다. 선택한 물체에 사진 이미지기반 방식과 3차원 모델링 방식을 모두 적용하여 보다 현실감 있고 모든 방향으로의 접근이 가능하도록 하며. 또한 3차원 사운드 및 동영상도 함께 제공하며 가상 공간과 인간의 실질적 교감을 현실화 시키는 인터페이스를 제시하는 데에 연구의 목적이 있다.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.169-184
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• 2021

Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.

• Journal of the Korean Institute of Intelligent Systems
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• v.24 no.5
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• pp.477-481
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• 2014

Human has various types of emotions which affect speculation, judgement, activity, and the like at the moment. Specifically, walking is also affected by emotions, because one's emotion status can be easily inferred by his or her walking style. The present research on biped walking with humanoid robots is mainly focused on stable walking irrespective of ground condition. For effective human-robot interaction, however, walking pattern needs to be changed depending on the emotion status of the robot. This paper provides analysis and comparison of gait experiment data for the men and women in four representative emotion states, i.e., joy, sorrow, ease, and anger, which was acquired by a gait analysis system. The data and analysis results provided in this paper will be referenced to emotional biped walking of a humanoid robot.

• Korean Association for Visual Culture
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• v.23
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• pp.463-524
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• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.