• Journal of the Korean Home Economics Association
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• v.43 no.9 s.211
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• pp.143-162
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• 2005

Many ethnic groups have different cultural backgrounds and each culture has developed with its own traditions. The interaction between different cultures is getting more active through acculturation and cultural contact. The purpose of this study was to provide basic data about the domestic living of Australians in order to compare with Korean immigrants in the form of a Cross-Cultural study. For this, usage of domestic space and seating style of 53 Australian households in Melbourne were analyzed. Ethnographic research with questionnaire was used. The results of the research were as follows. 1. The open plan type combining the kitchen, dining and tying areas was the most popular one for Australians and they are very satisfied with that type. 2. The laundry room has been planned traditionally and Australians demand to be able to dry their laundry and do ironing in there additionally. Most of Australians were satisfied with separated toilet and bathroom. h drain hole on the floor of the bathroom was not essential for most Australians. 3. Australians were doing various activities in the living areas and they also enjoy gelling together in the kitchen and dining areas. 4. The seating style of Australians was generally the chair-seating style. However, they sometimes made a bed for guests on the floor and watched TV and treated guests with both chair seating style and floor seating style. 5. Australians were satisfied with using carpet presumably for its warmth.6. Many Australians took off their shoes inside of the house for hygienic reason. Most people organized the shoes in the cabinet of the bedroom. 7. The most popular heating system was ducted heating for Australians and they were very satisfied with it because it was suitable for the weather in Melbourne. 8. The living room was the most important one for Australian families and they thought that it should be decorated well for entertaining guests. It was also considered that brightness of the light was enough for most Australians.

• Archives of design research
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• v.13
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• pp.177-200
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• 1996

The purpose of this study is to show the textile designers how to be creative and how to accept other ideas which are not necessarily of their own, and to show what exactly creating anything means. During the 1950's and'60s. America and Europe reached their peak in developing their consumption culture. After World War II, America achieved an astonished feat in developing its thechnology and industry to cause the economy to a rapid ascendence. The U.S. government adopted the Keynsian theory in its economic policy. The Keynsian theory advocates the consumer spending. And during this time period the American public developed consumption habit. Mass production and mass media went in hand to induce the public to buy. The public became an important target for the advertising stratages of the industry. In order for the industry to advertise the mass produced products, it had to utilize the mass media such as television, newspaper, and magazine. And mass media came into play an important role not to advertise the products, but to imform and educate the public about the products. This corporate stratege is further enhanced by the desire of the American public to climb up the ladder by way of material possession. Pop Art was born not only in reflecting the ideology of the consumption culture, but acted as a catalyst for more spending. The subjects of Pop Art are cars, foods, comics, Hollywood actors and movie scenes, the famous singers or persons. Andy Warhol specifically used the chosen image repeatedly to emphasize the redundacy of the image. The common factors which exist between Andy Warhol's Pop Art and textile design is the repetition in form, and the way of transferring an image to a canvas - Warhol used the frotttage technique to transfer an image to a canvas and textile design is transferred to a paper by way of transferring technique. Also the way Warhol thought of his paintings as a decorative elements and made a couple of his paintings into wallpapers or exhibits his painstings wall to wall demonstrates his close alliance with the textile design, let alone his comercial design background. In this study, I examined the inter-relationship between textile design and Pop Art. To carry out this study, I examined the comsumption culture: and the biomorphic relationship of culture and art: and Pop art and its transience stage. The major finding of this study is there exists a common denomenator between textile design and Pop Art, especially of Andy Warhol's.

• Journal of Broadcast Engineering
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• v.11 no.3 s.32
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• pp.336-348
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• 2006

The recent advances in multimedia signal coding and transmission technologies allow lots of users to watch videos on small LCD displays. In this paper, we briefly describe an intelligent display technique to provide small-display-viewers with comfortable experiences, and study the minimum image size tolerated and utility of displaying region of interest (ROI) only when needed. The study, with 111 participants, examines minimum image size to ensure viewers pleasant viewing experiences, and evaluates the degree of satisfaction when they are viewed with region of interest (ROI) only. The experimental results show that the ROI display enhances the viewers' satisfaction when the image size becomes less than $320{\times}240$, and thus it is useful to provide the intelligent display, if necessary, which can extract and display ROI only.

• Journal of Broadcast Engineering
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• v.11 no.3 s.32
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• pp.349-362
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• 2006

There are several data broadcasting standards that the developers should apply when develops any interactive digital TV contents. In Korea, we adopts ACAP(Advanced Common Application Platform) as terrestrial data broadcasting standard, MHP(Multimedia Home Platform) fur satellite data broadcasting and OCAP(OpenCable Application Platform) for cable data broadcasting. Therefore, content providers must develop different applications which suited for different standards - even if the application is exactly same. This is waste of time and energy. This paper suggests a solution to solve this problem among different broadcasting platforms - MHP, OCAP and ACAP. We compared these specifications, and found out what APIs are typically used far applications. Then we designed XML file structures that can be used to define contents of applications. We also implemented an authoring tool which automatically generates XML files by interaction with users. This paper also ascertains Xlet applications, produced by the authoring tool, works properly on each different data broadcasting standard - MHP, OCAP and ACAP.

• KDI Journal of Economic Policy
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• v.14 no.3
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• pp.23-48
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• 1992

The Korea's Consumer electronics industry has exhibited a spectacular growth in the last three decades, expanding into one of the most important industries in Korea in many respects. One interesting aspect of the industry is the dominant role played by the Big Three of the industry, Gumsung, Samsung, and Daewoo. Since 1984, the three companies have accounted for about 90% of the sales in key items such as color TV, VTRs, refrigerators, and washers. The Big Three not only dominated the manufacturing stage, but also the distribution stage of the industry through their networks of exclusive dealers that constitute the major part of the distribution market. In this study, we analyzed the effects of the exclusive dealing by the Big Three on the efficiency of the Korean economy. We find that exclusive dealing by the Big Three could seriously constrain competition in both the manufacturing and distribution stages of the industry. Exclusive dealing by the Big Three effectively forcecloses the market for most other manufacturers as well as deterring entry into the manufacturing stage by potential entrants. Further, it impedes the growth of distributors that achieve the economies of scale and scope and restricts competition by the Big Three. In contrast, we could find little evidence that exclusive dealing by the Big Three is pro-competitive or enhances welfare. As a remedy to this problem, we suggest that the Fair Trade Commission of Korea should regulate the exclusive dealing by the Big Three, thus opening the door for the growth of distributors that are not bound by an exclusive dealing relationship with any of the Big Three. Put differently, we urge the Korean Fair Trade Commission to apply the Article 23 (5) to the exclusive dealing by the Big Three. Article 23 (5) that states that unfair restrictive dealing is illegal has never been clarified by the FTC. We believe that our analysis could also serve as a basic for the clarification of the article in general.

• Archives of design research
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• v.17 no.2
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• pp.289-300
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• 2004

Recently, web casting on the internet has been expanding in number and size. Web Casting is different from the conventional television broadcasting since it can transmit various types of information through multimedia and it also can include interaction between users and broadcasting server. User experience by interaction becomes more important. Therefore, it is needed to win over customers by supplying satisfied experience through creative and different services, especially when there are consider competitions among music casting sites. In order to know how to make customers satisfied, we have to try to inspect what real customers in the Web Sites are acting and thinking, namely 'customer experience'. The 'customer experience' means every experience what users are expecting, doing, thinking and feeling when they stay in the Web site and online. In this thesis, the evaluation Guideline for music casting websites is developed by understanding customer experience on the music casting websites. The process of understanding customer experience was implemented through user observation methods, such as web Diary, group interview, and questionnaire. As a result of the study, 67 evaluation Guidelines with weight rate in 6 categories which are searching music, listening music, music video, music broadcasting, music mailing and other contents are developed. It can be used to analyze strengths and weakness of music casting sites and to establish business strategy for the more satisfied customer experience.

• Archives of design research
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• v.17 no.2
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• pp.451-462
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• 2004

The range of graphic design has expanded very widely as the digital era emerged, and many new areas of film design, including film, DVD, interactive TV, mobile and DMB, began to require the work of designers. This could be considered as an application as well as a case of digital film design as it has more developed new media environment as basis. The change in the expression techniques of film language is inevitable since major consumers of new media are the younger generation. The method of creating and distributing visual communication work is not standing still anymore. It has been diversified through dynamic movements and changes resulting from interaction. The major objective of this study is to find out and suggest the directions that film and digital media graduate school education of future by researching and analyzing how the nature of design, as an academic subject that keeps on changing and developing, is evolving in the new media environment. For this purpose, the methods of appropriate education system in higher design education, which are derived from case studies and previous studies on education system, are evaluated by examining the consumers. This study aims at finding the most effective training method in film and digital media design, and by integrating current design education with digital film design education establish a better fit education system that complies with the demands of today's society. It will suggest how an educational institute should see ahead of the time and provide what the society will demand in the future.

• Archives of design research
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• v.17 no.2
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• pp.15-22
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• 2004

Recent complex visual culture is the visual world widely magnified according to the images like image, graphics, photograph, movie, and television, etc. by the development of digital technology. Because it conveys meanings and contents inserting sound and letters, it may have multimedia character conveying and communicating information beyond general language and letters. The vision for various images at that time is inseparably connected with language. And imaginative order of image and vision are composed of special way in culture and history. Language is different in society, culture, and history. Accordingly, if visual experience is communicated with language partially, it is difficult to have university. So, role of linguistic order plays an important role in forming and defining the social and cultural differences among the visual systems. Historically various visual and optical devices with this visual language have influenced a lot. These visual technologies are concrete and physical practice determining a way to get together with the subject and the visible object in the visible world. The visual language is connected with dimension like these symbols of images and the dimension like visual technologies to series of historical physical and institutional practices. It determines social visual mode toward object world in one of visual system. Accordingly, this study is to understand visual language with social and historical character according to the changed concept and characters as development of media technology. And it is to explain it in view of visual language as a dimension of symbol and visual technology of institutional and physical practice. After all, it cannot explain the effect on the function and visual mode of visual technology as its technical element only. It also cannot separate with the practice with coherent discourse and the physical and institutional practice. The possibility, technical element of technology contains, does not realize as it is but the effect is always communicated in the social veins and realized with a restriction.

• Journal of Broadcast Engineering
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• v.14 no.5
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• pp.551-560
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• 2009

This paper proposes a method for efficient lossless depth map coding for MPEG 3D-Video coding. In general, the conventional video coding method such as H.264 has been used for depth map coding. However, the conventional video coding methods do not consider the image characteristics of the depth map. Therefore, as a lossless depth map coding method, this paper proposes a bit-plane based lossless depth mar coding method by using the MPEG-4 Part 2 shape coding scheme. Simulation results show that the proposed method achieves the compression ratios of 28.91:1. In intra-only coding, proposed method reduces the bitrate by 24.84% in comparison with the JPEG-LS scheme, by 39.35% in comparison with the JPEG-2000 scheme, by 30.30% in comparison with the H.264(CAVLC mode) scheme, and by 16.65% in comparison with the H.264(CABAC mode) scheme. In addition, in intra and inter coding the proposed method reduces the bitrate by 36.22% in comparison with the H.264(CAVLC mode) scheme, and by 23.71% in comparison with the 0.264(CABAC mode) scheme.

• Journal of Broadcast Engineering
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• v.19 no.6
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• pp.767-788
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• 2014

The worldwide transition from analog to digital broadcasting has now been completed and the need to study next generation standards for Ultra High Definition TV (UHDTV) broadcasting, and broadcasting & communication convergence systems is rapidly growing. In particular, high resolution mobile broadcasting services are needed to satisfy recent consumers. Therefore, the development of highly efficient convergence broadcasting systems that provide fixed/mobile broadcasting through a single channel is needed. In this paper, a service scenario and requirements for providing 4K UHD & HD convergence broadcasting services through a terrestrial single channel are analyzed by employing the latest transmission and A/V codec technologies. Optimized transmission parameters for 6 MHz & 8 MHz terrestrial bandwidths are drawn, and receiving performances are measured under Additive White Gaussian Noise (AWGN) and time-varying multipath channels. From the results, in a 6 MHz bandwidth, the reliable receiving of HD layer data can be achieved when the receiver velocity is maximum 140 Km/h and is not achieved when the velocity is over 140 Km/h due to the limit of bandwidth. When the bandwidth is extended to 8 MHz, the reliable receiving of both 4K UHD and HD layer data is achieved under a very fast fading multipath channel.