• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.15 no.6
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• pp.95-114
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• 2020

This paper, a meta-analysis of the effect of the start-up support policy on the start-up performance was conducted to examine the effect of the start-up support policy on the start-up performance of beneficiary companies and to provide theoretical and practical implications to support organizations and practitioners. To this end, 35 papers containing the correlation coefficient, which is a positive statistical value, were selected from the previous studies in academic journals and dissertations published in Korea from 2007 to 2020. In the preceding study of the start-up support policy, the independent variables include funding, education support, facility/equipment support, network support, mentoring support, consulting support, marketing support, management support, technical support, manpower support, and finance as a dependent variable. The effect size of the impact on aptitude and non-financial performance was reviewed. The pattern of the effect size was presented as a forest plot for easy visual understanding, and outliers were verified through sensitivity analysis for small-study-effect data with publication convenience. As a result of analyzing the effect size of the government-supported policy, it was verified that the effect size was generally medium or higher, affecting the entrepreneurial performance. Among the independent variables, the factor that has the greatest effect on startup performance is manpower support, followed by technical support, marketing support, management support, facility/equipment support, education support, mentoring support, funding, network support, and consulting support. It was analyzed that the effect size was large in order. As the 「Small and Medium Business Startup Support Act」 was recently reorganized from the manufacturing industry to digital transformation and smartization on October 8, 2020, the start-up support policy should consider the start-up stage and verify the priorities to organize the budget.

• Journal of the Korean Association of Geographic Information Studies
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• v.19 no.3
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• pp.61-74
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• 2016

The purpose of this paper is to analyze the relationship between the location of the epicenter of a medium-sized earthquake(magnitude 4.8) that occurred on January 20, 2007 in the Odaesan area with lineament features using a shaded relief map(1/25,000 scale) and satellite images from LANDSAT-8 and KOMPSAT-2. Previous studies have analyzed lineament features in tectonic settings primarily by examining two-dimensional satellite images and shaded relief maps. These methods, however, limit the application of the visual interpretation of relief features long considered as the major component of lineament extraction. To overcome some existing limitations of two-dimensional images, this study examined three-dimensional images, produced from a Digital Elevation Model and drainage network map, for lineament extraction. This approach reduces mapping errors introduced by visual interpretation. In addition, spline interpolation was conducted to produce density maps of lineament frequency, intersection, and length required to estimate the density of lineament at the epicenter of the earthquake. An algorithm was developed to compute the Value of the Relative Density(VRD) representing the relative density of lineament from the map. The VRD is the lineament density of each map grid divided by the maximum density value from the map. As such, it is a quantified value that indicates the concentration level of the lineament density across the area impacted by the earthquake. Using this algorithm, the VRD calculated at the earthquake epicenter using the lineament's frequency, intersection, and length density maps ranged from approximately 0.60(min) to 0.90(max). However, because there were differences in mapped images such as those for solar altitude and azimuth, the mean of VRD was used rather than those categorized by the images. The results show that the average frequency of VRD was approximately 0.85, which was 21% higher than the intersection and length of VRD, demonstrating the close relationship that exists between lineament and the epicenter. Therefore, it is concluded that the density map analysis described in this study, based on lineament extraction, is valid and can be used as a primary data analysis tool for earthquake research in the future.

• Korean Journal of Digital Imaging in Medicine
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• v.16 no.1
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• pp.13-19
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• 2014

Purpose: FLAIR image is beneficial for the diagnosis of various bran diseases including ischemic CVS, brain tumors and infections. However the border between the legion of brain metastasis and surrounding edema may not be clear. Therefore, this study aims to investigate the practical benefits of delayed imaging by comparing the image from a patient with brain metastasis before a contrast enhancement and the image 10 minutes after a contrast enhancement. Materials and methods: Of the 92 people who underwent MRI brain metastases in suspected patients 13 people in three patients there is no video to target the 37 people confirmed cases, and motion artifacts brain metastases in our hospital June-December 2013, 18 people measurement position except for the three incorrect patient (male: 11 people, female: 7 people, average age: 60 years) in the target, test equipment, 3.0T MR System (ACHIEVA Release, Philips, I was 8ChannelSENSE Head Coil use Best, and the Netherlands). TR 11000 ms, TE 125 ms, TI2800 ms, Slice Thickness 5 mm, gap 5 mm, is a Slice number 21, the parameters of the 3D FFE, T2 FLAIR variable that was used to test, TR 8.1 ms, TE 3.7 ms, Slice number 240 I set to. The experiment was conducted by acquiring the FLAIR prior to contrast enhancement (heretofore referred to as Pre FLAIR), and acquiring the 3D FFE CE five minutes after the contrast enhancement, and recomposing the images in an axial plane of S/T 3mm, G 0mm (heretofore referred to as MPR TRA CE). Using the FLAIR 10 minutes after the contrast enhancement (heretofore referred to as Post FLAIR) and Pi-View, a retrospective study was conducted. Using MRIcro on the image of a patient confirmed for his diagnosis, the images before and after the contrast media, as well as the CNR and SNR of the MPR TRA CE images of the lesion and the site absent of lesion were compared and analyzed using a one-way analysis of variance. Results: CNR for Pre FLAIR and Post FLAIR were 34.35 and 60.13, respectively, with MPR TRA CE at 23.77 showing no significant difference (p<0.050). Post-experiment analysis shows a difference between Pre FLAIR and Post FLAIR in terms of CNR (p<0.050), but no difference in CNR between Post FLAIR and MPR TRA CE (p>0.050), indicating that the contrast media had an effect only on Pre FLAIR and Post FLAIR. The SNR for the normal site Pre FLAIR was 106.43, and for the lesion site 140.79. Post FLAIR for the normal site was 107.79, and for the lesion site 167.91. MPR TRA CE for the normal site was 140.23 and for the lesion site 183.19, showing significant difference (p<0.050), and post-experiment analysis shows that there was a difference in SNR only on the lesion sites for Pre FLAIR and Post FLAIR (p<0.050). There was no difference in SNR between the normal site and lesion site for Post FLAIR and MPR TRA CE, indicating no effect from the contrast media (p>0.050). Conclusions: This experiment shows that Post FLAIR has a higher contrast than Pre FLAIR, and a higher SNR for lesions, It was not not statistically significant and MPR TRA CE but CNR came out high. Inspection of post-contrast which is used in a high magnetic field is frequently used images of 3D T1 but, since the signal of the contrast medium and the blood flow is included, this method can be diagnostic accuracy is reduced, it is believed that when used in combination with Post FLAIR, and that can provide video information added to the diagnosis of brain metastases.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• The Korean Journal of Archival Studies
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• no.16
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• pp.303-339
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• 2007

"The damage incurred from forced mobilization under the Japanese Imperialism" means the life, physical, and property damage suffered by those who were forced to lead a life as soldiers, civilians attached to the military, laborers, and comfort women forcibly mobilized by the Japanese Imperialists during the period between the Manchurian Incident and the Pacific War. Up to the present time, every effort to restore the history on such a compulsory mobilization-borne damage has been made by the damaged parties, bereaved families, civil organizations, and academic circles concerned; as a result, on March 5, 2004, Disclosure act of Forced Mobilization under the Japanese Imperialism[part of it was partially revised on May 17, 2007]was officially established and proclaimed. On the basis of this law, the Truth Commission on Forced Mobilization under the Japanese Imperialism Republic of Korea[Compulsory Mobilization Commission hence after] was launched under the jurisdiction of the Prime Minister on November 10, 2004. Since February 1, 2005, this organ has begun its work with the aim of looking into the real aspects of damage incurred from compulsory mobilization under the Japanese Imperialism, by which making the historical truth open to the world. The major business of this organ is to receive the damage report and investigation of the reported damage[examination of the alleged victims and bereaved families, and decision-making], receipt of the application for the fact-finding & fact finding; fact finding and matters impossible to make judgment; correction of a family register subsequent to the damage judgement; collection & analysis of data concerning compulsory mobilization at home and from abroad and writing up of a report; exhumation of the remains, remains saving, their repatriation, and building project for historical records hall and museum & memorial place, etc. The Truth Commission on Compulsory Mobilization has dug out and collected a variety of records to meet the examination of the damage and fact finding business. As is often the case with other history of damage, the records which had already been made open to the public or have been newly dug out usually have their limits to ascertaining of the diverse historical context involved in compulsory mobilization in their quantity or quality. Of course, there may happen a case where the interested parties' story can fill the vacancy of records or has its foundational value more than its related record itself. The Truth Commission on Compulsory mobilization generated a variety of oral history records through oral interviews with the alleged damage-suffered survivors and puts those data to use for examination business, attempting to make use of those data for public use while managing those on a systematic method. The Truth Commission on compulsory mobilization-possessed oral history archives were generated based on a drastic planning from the beginning of their generation, and induced digital medium-based production of those data while bearing the conveniences of their management and usage in mind from the stage of production. In addition, in order to surpass the limits of the oral history archives produced in the process of the investigating process, this organ conducted several special training sessions for the interviewees and let the interviewees leave their real context in time of their oral testimony in an interview journal. The Truth Commission on compulsory mobilization isn't equipped with an extra records management system for the management of the collected archives. The digital archives are generated through the management system of the real aspects of damage and electronic approval system, and they plays a role in registering and searching the produced, collected, and contributed records. The oral history archives are registered at the digital archive and preserved together with real records. The collected oral history archives are technically classified at the same time of their registration and given a proper number for registration, classification, and keeping. The Truth Commission on compulsory mobilization has continued its publication of oral history archives collection for the positive use of them and is also planning on producing an image-based matters. The oral history archives collected by this organ are produced, managed and used in as positive a way as possible surpassing the limits produced in the process of investigation business and budgetary deficits as well as the absence of records management system, etc. as the form of time-limit structure. The accumulated oral history archives, if a historical records hall and museum should be built as regulated in Disclosure act of forced mobilization, would be more systematically managed and used for the public users.

• Korean Chemical Engineering Research
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• v.49 no.5
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• pp.582-587
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• 2011

Holdup characteristics of bubble, wake and continuous liquid phases were investigated in bubble columns with viscous liquid media. Effects of column diameter(0.051, 0.076, 0.102 and 0.152 m ID), gas velocity($U_G$=0.02~0.16 m/s) and liquid viscosity(${\mu}_L$=0.001~0.050 $Pa{\cdot}s$) of continuous liquid media on the holdups of bubble, wake and continuous liquid phases were discussed. The three phase such as bubble, wake and continuous liquid phases were classified successfully by adapting the dual electrical resistivity probe method. Compressed filtered air and water or aqueous solutions of CMC(Carboxy Methyl Cellulose) were used as a gas and a liquid phase, respectively. To detect the wake as well as bubble phases in the bubble column continuously, a data acquisition system(DT 2805 Lab Card) with personal computer was used. The analog signals obtained from the probe circuit were processed to produce the digital data, from which the wake phase was detected behind the multi-bubbles as well as single bubbles rising in the bubble columns. The holdup of bubble and wake phases decreased but that of continuous liquid media increased, with an increase in the column diameter or liquid viscosity. However, the holdup of bubble and wake phases increased but that of continuous media decreased with an increase in the gas velocity. The holdup ratio of wake to wake to bubble phase decreased with an increase in the column diameter or gas velocity, however, increased with an increase in the viscosity of con-tinuous liquid media. The holdups of bubble, wake and continuous liquid media could be correlated in terms of operating variables within this experimental conditions as: ${\varepsilon}_B=0.043D^{-0.18}U_G^{0.56}{\mu}_L^{-0.13}$, ${\varepsilon}_W=0.003D^{-0.85}U_G^{0.46}{\mu}_L^{-0.10}$, ${\varepsilon}_C=1.179D^{0.09}U_G^{-0.13}{\mu}_L^{0.04}$.

• Archives of design research
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• v.17 no.2
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• pp.425-436
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• 2004

A new design field called eDesign appears as if eBiz is an online related business in which an industrialized design creates the individual value added facing a digital revolution. The field of eDesign requires a special design process and management methodology regardless of the fact that human sensitivity will be satisfied through a dehumanized computer technique. However, it is the reality of eDesign that has been dependent upon a simple process or project management tool of general design. In this study, we develop an eDesign platform based on an eDesign process and template mainly focused on eBusiness in order to overcome the wrong situation. The template is a kind of document that has a standardization form. We aim to establish a general process through various case projects, store information using a necessary template, and use for the way of visual communication. We propose a standard of eDesign platform that can be widely applied to the field of design, medium and small enterprises focused on IT businesses or design-team through this project performed as an educational-industrial study. It makes it possible to get a detailed process methodology, which can be applied to many small design related companies that don't have their own process yet, and will be a scale for comparing their own process in which the company has a process of opened standard eDesign with it. In addition, it makes possible a systematic control of the own projects within and outside the firm, accumulating information for the firm through the database, and easy communication. Furthermore, it can be applied to check the process of the project as a checklist, and then it will reduce trial and error repeated for every project that has been done.

• Archives of design research
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• v.18 no.1 s.59
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• pp.39-48
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• 2005

In the age of digital culture, TV broadcasting is exercising more influence as a information and communication medium compared to past. With the appearance of satellite broadcasting service in 2002, the broadcasting environment became a diversified field of local TV, cable TV, satellite, internet, etc. and created the time of multi-media and multi-channel. This ongoing change of broadcasting environment made the passive audience of the past, active image makers and new accepters, participants and users of communications, who know how to choose and use media as the active centerpiece, The active acceptor as the centerpiece of channel selections has become the center of the broadcasting, whereby they pick up and enjoy their favorite TV programs and came to remember the list of their favorite channels and zap them finally. In this point of spotting their favorite channels and improving the degree of recognition for the channels, the development of the noticeable brand for a particular program has made a great contribution. The aim of this study, therefore, is to recognize the factors, which are important in the habits of watching TV and to develop professional brands for TV broadcasting programs. The range of the survey for this study was home news programs and broadcasting stations abroad, which were on air from March to May in 2004. The focus of the survey was universal and professional news programs. Through this study, it was ascertained that, in the case of news, developing a brand for an anchor as well as for a professional brand of TV program could be an important element.

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.