• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.696-700
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• 2009

In this paper, we present a framework which enables users to interact naturally with hand gestures on a digital table. In general tabletop applications, one gesture is mapped to one function or command. Therefore, users should know these relations, and make predefined gestures as input. In contrast, users can make input gesture without cognitive load in our system. Instead of burdening users, the system possesses knowledge about gesture interaction, and infers proactively users' gestures and intentions. When users make a gesture on the digital surface, the system begins to analyze the gestures and designs the response according to users' intention.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.130-135
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• 2006

본 논문에서는 상황 인지(Context Aware)를 이용한 제스처 인식 방법에 대하여 기술한다. 기존의 인식 방법들은 대부분 제스처의 개별적인 의미를 중심으로 제스처를 분류하는 방법을 사용한다. 그러나 이러한 방법들은 인식 알고리즘을 일반화하는데 있어서 다음과 같은 문제점들을 가지고 있다. 첫째, 인간의 모든 제스처를 제한된 특징으로 모호하지 않게 구별하기 어렵다. 둘째, 같은 제스처라 할지라도 상황에 따라 다른 의미를 내포할 수 있다. 이러한 문제점들을 해결하고자 본 논문에서는 확률 기반의 상황 인지 모델을 이용한 제스처 인식 방법을 제안한다. 이 방법은 제스처의 개별적인 의미를 인식하기 전에 대상의 상황을 추상적으로 분류함으로써 행위자의 의도를 정확히 파악할 수 있다. 본 방법은 시스템의 상태를 [NULL], [OBJECT], [POSTURE], [GLOBAL], [LOCAL]의 5 가지 상태로 정의한 뒤, 각 상태의 천이를 바탕으로 대상의 상황을 판단한다. 이러한 상황 정보에 따라 각 상태에 최적화된 인식 알고리즘을 적용함으로써 지능적인 제스처 인식을 수행할 수 있으며, 기존 방법들이 갖는 제스처 인식의 제약을 완화 시키는 효과가 있다. 따라서, 제안하는 제스처 인터페이스는 자연스러운 상호 작용이 필요한 지능형 정보 가전 혹은 지능형 로봇의 HCI 로 활용될 수 있을 것이다.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.6
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• pp.839-849
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• 2017

Recently, the role of the kitchen has evolved from the space for previous survival to the space that shows the present life and culture. Along with these changes, the use of IoT technology is spreading. As a result, the development and diffusion of new smart devices in the kitchen is being achieved. The user experience for using these smart devices is also becoming important. For a natural interaction between a user and a computer, better interactions can be expected based on context awareness. This paper examines the Natural User Interface (NUI) that does not touch the device based on the user interface (UI) of the smart device used in the kitchen. In this method, we use the image processing technology to recognize the user's hand gesture using the camera attached to the device and apply the recognized hand shape to the interface. The gestures used in this study are proposed to gesture according to the user's context and situation, and 5 kinds of gestures are classified and used in the interface.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.163-168
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• 2024

Technologies that are considered to be a part of the fourth industrial revolution include holograms, augmented reality, and virtual reality. As technology advances, the industry's scale is growing quickly as well. While the development of technology for direct use is moving slowly, awareness of floating holograms-which are considered realistic content-is growing as the industry's scale and rate of technological advancement continue to accelerate. Specifically, holograms that have been incorporated into museums and exhibition spaces are static forms of content that viewers gaze at inertly. Additionally, their use in educational fields is very passive and has a low rate of utilization. Therefore, in order to improve usability from the viewpoint of viewers of realistic content, such as exhibition halls or museums, we introduce realistic content control technology in this study using a machine learning framework to recognize hands. It is anticipated that using the study's findings, manipulating realistic content independently will enhance comprehension of objects presented as realistic content and boost its applicability in the industrial and educational domains.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.40-47
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• 2012

Existing art, media art, accompanied by a new path of awareness and perception instrumentalized by the human body, creating a new way to watch the interaction is proposed. Western art way to create visual images of the point cloud that represented a form that is similar to the Pointage. This traditional painting techniques using digital technology means reconfiguration. In this paper, a new appreciation of fusion of aesthetic elements and digital technology, making the point cloud in the form of video. And this holographic film projection of the spectator, and gestures to interact with the video content is presented. A Process of making contents is intent planning, content creation, content production point cloud in the form of image, 3D gestures for interaction design process, go through the process of holographic film projection. Visual and experiential content of memory recall process takes place in the consciousness of the people expressed. Complete the process of memory recall, uncertain memories, memories materialized, recalled. Uncertain remember the vague shapes of the point cloud in the form of an image represented by the image. As embodied memories through the act of interaction to manipulate images recall is complete.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.797-821
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• 2010

This paper aims to explore how Millay's love sonnets rewrite the carpe diem tradition in the complicated ways. This paper redirects critical attention away from Millay's individual experience and inner self toward the scene of literary history, suggesting that there may be more historical consciousness in Millay's sentimental and feminine "gesture." Rewriting the carpe diem tradition, Millay's sonnets reveal an awareness of the dependence of the carpe diem poems' discursive logic on the woman's coyness, its inability to accomplish its triumph over woman or time (death) without her posited reluctance. Contrary to Andrew Marvel's "To His Coy Mistress," the speakers of Millay's sonnets could never be accused of the sexual coyness; they are outspoken in their defiance of both death and lovers whose possessiveness resembles death's embrace. Moreover, as Stacy Carson Hubbard points out, by converting female sexual experience from its status as a onetime closural event to repeatable one, hence an opportunity for the general and emotional irritability productive of narrative, Millay seizes for the woman the power of "dilation" in both its sexual and its verbal forms. Furthermore, this paper argues that the woman's sex no longer invites analogies to things secret and sealed, preserved or ruined in Millay's sonnets. The woman's promiscuity implies a rejection of monumentalizing love, as well as a refusal of the fixing inherent in the carpe diem's fearful invocation of the movement of time. Throughout the love sonnets, the speaker's sexualized body produces nothing but ephemera. For Millay, this body spends its powers in hopes of having them, and the force of this spending is a perpetual and willful forgetting, which makes possible the repetition of love's story. Ultimately, Milly disturbs our critical categories by rendering permeable boundaries between modern literature and dead form of classic literature, the female speaker and male speaker.