• 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.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.