• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.10
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• pp.545-556
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• 2017

There are exhibit commentary media (docent, mobile device) for assisting family visitors in the museum, and the communication within family members could be affected by which media they use. When using a docent, family visitors lowered their voice or restrained talks for paying attention to a docent' explanation. When using a mobile device, family visitors mainly relied on a mobile device, so they did not pay attention to the objects. The results of the survey showed that parents reported no difference between the docent and the mobile device on some measurement items and preferred the docent to the mobile device on other measurement items. On the other hand, children showed strong preference toward the mobile deice over the docent because of their enjoyment for operating the mobile device. Regardless of which media they used, the communication among family members could be enhanced by being together. Therefore, the museum should design and operate a docent program for family visitors to enhance the communication among family members. In addition, the museum should consider how family visitors using a mobile device would pay attention to objects and enhance the communication.

• Journal of Korea Multimedia Society
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• v.14 no.1
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• pp.54-75
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• 2011

PoC(Push-to-talk Over Cellular) is an integrated technology of group voice calls, video calls and internet based multimedia services. If a PoC user can not participate in the PoC session for various reasons such as an emergency situation, lack of battery capacity, then the user can use the PoC Box which has a similar functionality to the MM Box in the MMS(Multimedia Messaging Service). The RTSP(Real-Time Streaming Protocol) method is recommended to be used when there is a transmission session between the PoC box and a terminal. Since the existing VOD service uses a wired network, the packet size of RTSP-based VOD service is huge, however, the PoC service has wireless communication environments which have general characteristics to be used in RTSP method. Packet loss in a wired communication environments is relatively less than that in wireless communication environment, therefore, a buffering latency occurs in PoC service due to a play-out delay which means an asynchronous play of audio & video contents. Those problems make a user to be difficult to find the information they want when the media contents are played-out. In this paper, the following techniques and methods were proposed and their performance and superiority were verified through testing: cross-over dual reception buffering technique, advance partition multi-reception buffering technique, and on-demand multi-reception buffering technique, which are designed for effective picking up of information in media content being transmitted in short amount of time using RTSP when a user searches for media, as well as for reduction in playback delay; and same-priority packetization transmission method and priority-based packetization transmission method, which are media data packetization methods for transmission. From the simulation of functional evaluation, we could find that the proposed multiple receiving buffering and packetizing methods are superior, with respect to the media retrieval inclination, to the existing single receiving buffering method by 6-9 points from the viewpoint of effectiveness and excellence. Among them, especially, on-demand multiple receiving buffering technology with same-priority packetization transmission method is able to manage the media search inclination promptly to the requests of users by showing superiority of 3-24 points above compared to other combination methods. In addition, users could find the information they want much quickly since large amount of informations are received in a focused media retrieval period within a short time.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.152-157
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• 2008

The customer satisfaction of WAP service greatly relies on the usability of the service due to the limited display size of a mobile phone and limitation in realizing UI (User Interface) for function keys, browser, and OS (operating system) Currently, a number of contents providers develop and deliver varying services, and thus, it is critical to control quality level of UI in consistent standards and manner. This study suggests usability index evaluation system to achieve consistent UI quality control of various WAP services. The system adopts both top-down and bottom-up approaches. The former concerns deriving UI design components and evaluation checklists for the WAP, based on the usability attributes and UI principles. The latter concerns deriving usability-related evaluation checklists from the established UI design features, and then grouping them from the viewpoint of usability principles and attributes. This bidirectional approach has two outstanding advantages: it allows thorough examination of potential elements that can cause usability problems from the standpoint of usability attributes, and also derives specific evaluation elements from the perspective of UI design components that are relevant to the real service environment. The evaluation system constitutes a hierarchical structure by networking usability attributes, UI guideline which indicates usability principles for each attribute, and usability evaluation checklist for each UI component that enables specific evaluation. Especially, each evaluation checklist contains concrete contents and format so that it can be readily marked in O/X. The score is based on the ratio of number of items that received positive answer to the number of total items. This enables a quantitative evaluation of the usability of mobile WAP service. The validity of the proposed evaluation system has been proved through comparative analysis with the real usability problems based on the user test. A software was developed that provides guideline for evaluation objects, criteria and examples for each checklist, and automatically calculates a score. The software was applied to evaluating and improving the real mobile WAP service.

• Journal of Radiation Protection and Research
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• v.40 no.4
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• pp.194-201
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• 2015

We have investigated the EPR signal properties in 12 components of two mobile phones (LCD, OLED) using electron paramagnetic resonance (EPR) spectrometer in this study.EPR measurements were performed at normal atmospheric conditions using Bruker EXEXSYS-II E500 spectrometer with X-band bridge, and samples were irradiated by $^{137}Cs$ gamma-ray source. To identify the presence of radiation-induced signal (RIS), the EPR spectra of each sample were measured unirradiated and irradiated at 50 Gy. Then, dose-response curve and signal intensity variating by time after irradiation were measured. As a result, the signal intensity increased after irradiation in all samples except the USIM plastic and IC chip. Among the samples, cover glass(CG), lens, light guide plate(LGP) and diffusion sheet have shown fine linearity ($R^2$ > 0.99). Especially, the LGP had ideal characteristics for dosimetry because there were no signal in 0 Gy and high rate of increase in RIS. However, this sample showed weakness in fading. Signal intensity of LGP and Diffusion Sheet decreased by 50% within 72 hours after irradiation, while signals of Cover Glass and Lens were stably preserved during the short period of time. In order to apply rapidly EPR dosimetry using mobile phone components in large-scale radiation accidents, further studies on signal differences for same components of the different mobile phone, fading, pretreatment of samples and processing of background signal are needed. However, it will be possible to do dosimetry by dose-additive method or comparative method using unirradiated same product in small-scale accident.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Journal of the Korean Society of Radiology
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• v.15 no.1
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• pp.45-54
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• 2021

This study was written to create educational content in non-destructive fields based on Mixed Reality. Currently, in the field of radiation, there is almost no content for educational Mixed Reality-based educational content. And in the field of non-destructive inspection, the working environment is poor, the number of employees is often 10 or less for each manufacturer, and the educational infrastructure is not built. There is no practical training, only practical training and safety education to convey information. To solve this, it was decided to develop non-destructive worker education content based on Mixed Reality. This content was developed based on Microsoft's HoloLens 2 HMD device. It is manufactured based on the resolution of 1280 ⁎ 720, and the resolution is different for each device, and the Side is created by aligning the Left, Right, Bottom, and TOP positions of Anchor, and the large image affects the size of Atlas. The large volume like the wallpaper and the upper part was made by replacing it with UITexture. For UI Widget Wizard, I made Label, Buttom, ScrollView, and Sprite. In this study, it is possible to provide workers with realistic educational content, enable self-directed education, and educate with 3D stereoscopic images based on reality to provide interesting and immersive education. Through the images provided in Mixed Reality, the learner can directly operate things through the interaction between the real world and the Virtual Reality, and the learner's learning efficiency can be improved. In addition, mixed reality education can play a major role in non-face-to-face learning content in the corona era, where time and place are not disturbed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.