• Journal of the Korean neurological association
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• v.36 no.4
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• pp.411-412
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• 2018

• Journal of Digital Convergence
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• v.20 no.5
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• pp.741-749
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• 2022

The purpose of this study is to find out what kind of media perception can be experienced by the audience when artificial intelligence technology meets art, where new technologies are invented one after another. Among the artificial intelligence works, I selected works that stand out in relation to perception and investigated what kind of media perception the audience experiences when artificial intelligence technology meets art. By examining the characteristics of machine hallucinations, uncanny, and artificial empathy with the media perception of artificial intelligence art, these perceptions were ultimately identified as aura perception within family resemblance. In the future, artificial intelligence technology will develop further and artists will not stop experimenting with them. It is expected that the works created by artists will expand the audience's perceptual experience while providing new experiences to the audience.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1069-1074
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• 2009

Public displays are evolving from a one-way display to an interactive medium which contains dynamic transition of various media. This study focuses on the interaction between human and digital technology-based art on public display from a HCI point of view, while several viewpoints exist on interactive public displays. We present a new interaction model which suggests different interactions depending on the viewer's distance and direction so that public display could offer rich media experiences. We have also and built an installation art to examine the efficacy of our interaction model. As such, we introduced two methodologies from HCI to derive our final interaction model. First of all, we analyze previous distance-dependent interaction models for public display in terms of context analytic approach, and propose an effective model for human-digital art interaction. Second, we introduce the concept of aura in HCI as user analytic approach to redefine interaction depending on the viewer's direction of attention. Thus, this study aims to suggest a new interaction model based on the previous two analyses to improve interaction between human and digital technology-based art on public display.

• Journal of Korean Neurosurgical Society
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• v.29 no.2
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• pp.222-230
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• 2000

Purpose : Resection of the epileptogenic zone in the parietal and occipital lobes may be relevant although only few studies have been reported. Methods : Eight patients with parietal epilepsy and nine patients with occipital epilepsy were included for this study. Preoperatively, all had video-EEG monitoring with extracranial electrodes, MRI, 3D-surface rendering of MRI using Allegro(ISG Technologies Inc., Toronto, Canada), and PET scans. Sixteen patients underwent invasive recording with subdural grid. Eight had parietal resection including the sensory cortex in two. Seven had partial occipital resection. Two underwent total unilateral occipital lobectomy. The extent of the resection was made based mainly on the data of invasive EEG recordings, MRI, and 3D-surface rendering of MRI, not on the intraoperative electrocorticographic findings as usually done. During resection, electrocortical stimulation was performed on the motor cortex and speech area. Results : Out of eight patients with parietal epilepsy, three had sensory aura, two had gustatory aura, and two had visual aura. Six of nine patients with occipital epilepsy had visual auras. All had complex partial seizures with lateralizing signs in 15 patients. Four had quadrantopsia. One had mild right hemiparesis. Abnormality in MRI was noticed in six out of eight parietal epilepsy and in eight out of nine occipital epilepsy. 3D-surface rendering of MRI visualized volumetric abnormality with geometric spatial relationships adjacent to the normal brain, in all of parietal and occipital epilepsy. Surface EEG recording was not reliable in localizing the epileptogenic zone in any patient. The subdural grid electrodes can be implanted on the core of the structural abnormality in 3D-reconstructed brain. Ictal onset zone was localized accurately by subdural grid EEGs in 16 patients. Motor cortex in nine and sensory speech area in two were identified by electrocortical stimulation. Histopathologic findings revealed cortical dysplasia in 10 patients ; tuberous sclerosis was combined in two, hamartoma and ganglioglioma in one each, and subpial gliosis in six. Eleven patients were seizure free at follow-up of 6 months to 37 months(mean 19.7 months) after surgery. Seizures recurred in two and were unchanged in one. Six produced transient sensory loss and one developed hemiparesis and tactile agnosia. One revealed transient apraxia. Two patients with preoperative quadrantopsia developed homonymous hemianopsia. Conclusion : This study suggests that surgical treatment was relevant in parietal and occipital epilepsies with good surgical outcome, without significant neurologic sequelae. Neuroimaging studies including conventional MRI, 3Dsurface rendering of MRI were necessary in identifying the epileptogenic zone. In particular, 3D-surface rendering of MRI was very helpful in presuming the epileptogenic zone in patients with unidentifiable lesion in the conventional MRI, in planning surgical approach to lesions, and also in making a decision of the extent of the epileptogenic zone in patients with identifiable lesion in conventional MRI. Invasive EEG recording with the subdural grid electrodes helped to confirm a core of the epileptogenic zone which was revealed in 3D-surface rendered brain.

• Korean Journal of Psychosomatic Medicine
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• v.17 no.2
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• pp.82-89
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• 2009

Objectives : Anxiety is a common co-morbid symptom in patients with epilepsy, which can affect the treatment and prognosis of epilepsy patients. This study is designed to compare the characteristics of anxiety between epilepsy patients and normal controls and also analyze them in epilepsy patients by examining both seizure-related and socio-demographic variables. Methods : As cross-sectional study, 80 epilepsy patients were enrolled from January to July 2008. The State-Trait Anxiety Inventory-(STAI) was used to assess the characteristics of anxiety. STAI is composed of transitory episodes of anxiety-(state subscale of STAI ; STAI-S) and stable personality features presenting chronic levels of anxiety-(trait subscale of STAI ; STAI-T). As controls, 113 healthy age-and sex-matched people were included. Results : The mean score of STAI-S and STAI-T were not different in both groups(STAI-S ; p=0.998, STAIT ; p=0.343). Within patients, patients without occupational engagement showed higher STAI-S(p<0.001) and tendency to higher STAI-T(p=0.052). Patients with depression showed higher score in both modalities(STAIS and STAI-T ; p<0.001). Patients with aura showed higher STAI-T(p=0.031). Conclusions : STAI-S and STAI-T was not significantly different between patients and controls. Of 3 factors related to anxiety, higher STAI-T in patients with aura is likely to represent misunderstanding internal and external changes as an aura and worrying about impending seizure. Occupational engagement and depression had relation to both STAI-S and STAI-T and more concern is needed to evaluate the risk of anxiety and manage it appropriately.

• Journal of the Daesoon Academy of Sciences
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• v.49
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• pp.157-186
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• 2024

This study aims to understand the symbolic meanings of dragons in the contemporary period through the painting featuring poetry based on the Hwaryong (paintings of dragons) and to analyze the literary representations and characteristics of dragons. First, the shape and aura of the dragon in the paintings should be confirmed. In dragon Painting Poetry (Paintings Featuring Poetry), the shape of the dragon is embodied in the aura of 'spirit.' However, people in previous eras customarily believed that dragons were real. In addition, the main spirit of the Hwaryong was in the representation of the dragon's aura, or "Jeonsin (transmission of spirit)," such as the creature's dragonly virtue or Heavenly Perfection. Next, the rhetorical representation of the dragon in the painting is to be examined. In the actual Painting Poetry, dragon images were relatively common in descriptions of pines, bamboo, and plum trees. The pine-bamboo-plum motif is known as Sehan Samwu (the three friends of the cold season), and since the Northern Song Dynasty, it has become a symbol of literary incision. Manifested as a dragon, the pine-bamboo-plum motif has a common denominator of winding branches, tangled stems, and bluish jade coloration, and like the dragon, it is used as a backdrop for weather phenomena such as rain, wind, and lightning. In the schematic that connects the Hwaryong, dragon Painting Poetry, the original meaning of the dragon is transformed into shapes and language. This is the meaning conveyed by the dragon, and this symbolic meaning was shared among the writers of the period who viewed the poems and paintings.

• TTA Journal
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• s.85
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• pp.138-148
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• 2003

본 고에서는 유비쿼터스, 퍼베이시브(pervasive), invisible computing 등 연구기관과 연구자 사이에서 서로 다르게 명명되는 용어를 퍼베이시브 컴퓨팅으로 통일하여 명명하였다. DARPA에서 지원하는 퍼베이시브 컴퓨팅 관련 미국 내 주요 대학의 프로젝트는 MIT의 Oxygen, UC Berkeley의 Endeavour, Washington 대학의 Portolano, Georgia Tech & OGI 의 Infosphere, CMU의 Aura 프로젝트 등이 있다. 산업체에서의 가장 대표적인 경우가 IBM의 Websphere 제품군과 HP의 Cooltown이라 할 수 있다. 본 고에서는 주요 대학들의 퍼베이시브 프로젝트들을 분석하였고, 퍼베이시브 컴퓨팅의 상업적인 모델인 IBM 제품들을 분석하였다.

• Journal of Internet Computing and Services
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• v.6 no.5
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• pp.11-25
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• 2005

In MIPv6 environment, an important design consideration for public key based binding update protocols is to minimize asymmetric cryptographic operations in mobile nodes with constraint computational power, such as PDAs and cellular phones, For that, public key based protocols such as CAM-DH. SUCV and Deng-Zhou-Bao's approach provides an optimization to offload asymmetric cryptographic operations of a mobile node to its home agent. However, such protocols have some problems in providing the optimization. Especially, CAM-DH with this optimization does not unload all asymmetric cryptographic operations from the mobile node, while resulting in the home agent's vulnerability to denial of service attacks. In this paper, we improve the drawbacks of CAM-DH. Furthermore, we adopt Aura's two hash-based CGA scheme to increase the cost of brute-force attacks searching for hash collisions in the CGA method. The comparison of our protocol with other public key based protocols shows that our protocol can minimize the MN's computation overhead, in addition to providing better manageability and stronger security than other protocols.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.205-214
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• 2009

There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.472-481
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• 2018

The main point of this paper is to examine the composition of interior space of the residence centered on carved ceramic candlestick with the motive of Yeonga. And with the Yeonga candlestick developed using that, the application of space convergence in the interior design is researched. As the industry develops, pleasant and comfortable living environment draws attention in choosing residence with the psychology to engage nature into the house working. It is anticipated that the Yeonga candlestick interior accessories will be used to smoothly connect floor, wall and ceiling. As the shape of Yeonga includes the aura of the luminaire, the design element of Yeonga is researched through it. These sources are applied to the carved candlestick to investigate their application as indoor lighting. It is also a major viewpoint to develop this as a ceramic product and actively utilize it as a necessary interior item in daily life.