• Journal of Digital Contents Society
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• v.7 no.1
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• pp.35-40
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• 2006

Game AI(Artificial Intelligence) technologies implement the movement of autonomous characters and control the movement of Non-Player Characters(NPC). In this paper, we present several types of game AI control systems such as Movement Scripts, FSM(Finite State Machines), Hierarchical State Machines, fuzzy State Machines, and Pathfinding techniques and their limitations.

• International conference on construction engineering and project management
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• 2022.06a
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• pp.319-327
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• 2022

Robots for construction sites, although not deeply widespread, are finding applications in the duties of project monitoring, material movement, documentation, security, and simple repetitive construction-related tasks. A significant shortcoming in the use of robots is the complexity involved in programming and re-programming an automation routine. Robotic programming is not an expected skill set of the traditional construction industry professional. Therefore, this research seeks to deliver a low-cost approach toward re-programming that does not involve a programmer's skill set. The researchers in this study examined an approach toward programming a terrestrial-based drone so that it follows a taped path. By doing so, if an alternative path is required, programmers would not be needed to re-program any part of the automated routine. Changing the path of the drone simply requires removing the tape and placing a different path - ideally simplifying the process and quickly allowing practitioners to implement a new automated routine. Python programming scripts were used with a DJI Robomaster EP Core drone, and a terrain navigation assessment was conducted. The study examined the pass/fail rates for a series of trial run over different terrains. The analysis of this data along with video recording for each trial run allowed the researchers to conclude that the accuracy of the tape follow technique was predictable on each of the terrain surfaces. The accuracy and predictability inform a non-coding construction practitioner of the optimal placement of the taped path. This paper further presents limitations and suggestions for some possible extended research options for this study.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.319-325
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• 2017

The scenography in terms of directorial viewpoints could suggest the overall vision of scripts rather than providing stage design only. I chose Antonio Buero Vallejo' because he presented the spatial characteristics and images clearly and believe that it could be an exciting challenge to change its original scenography that the playwright suggested. The concept of failed social success and enclosed repeated destiny spaces gave shape to my scenography of stairs. I chose every character in this play had to climb a flight of stairs in order to go outside because a main and sole entrance was located on the top floor. Characters' visual movement which went up in the morning for their dreams, but came down disappointedly due to failure day by day. This concept of scenography became the characters' given circumstances and intended to always affect the characters' acting during the show. Finally, I verified a new scenographic possibility beyond theoretical examination because I applied it to practical production.