• 디지털콘텐츠학회 논문지
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• 제7권1호
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• pp.35-40
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• 2006

게임 인공지능 기술은 등장 캐릭터의 지능적인 행동을 구현하고 플레이어에 의해 조종되지 않고 자동적으로 움직이는 NCP(Non Player Characters)의 행동을 제어하는데 요구된다. 본 논문에서는 이러한 게임 인공지능 기술의 제어 시스템으로 사용되는 Movement Scripts, FSM(Finite State Machines), Hierarchical State Machines, Fuzzy State Machines 방식과 캐릭터가 현재 위치에서 목적지까지 갈 수 있도록 이동 경로를 제어하는 Pathfinding techniques방식을 기술하고 각 유형의 한계점을 비교 제시하였다.

• 국제학술발표논문집
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• The 9th International Conference on Construction Engineering and Project Management
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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.

• 한국연극학
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• 제48호
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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.

• 디지털융복합연구
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• 제15권2호
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• pp.319-325
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• 2017

연출적 관점의 시노그래피는 단순한 디자인의 차원을 넘어 희곡 전체의 비전(vision)을 제시할 수 있다. 연구자는 안토니오 부에로 바예호의 <어느 계단 이야기>와 같이, 작가가 제시한 공간적 특성과 이미지가 극명한 작품일수록 시노그래피적 도전이 더욱 절실한 작품이라는 전제 하에 본 희곡을 연구대상으로 선정하였다. 계단의 시노그래피적 형상화는 좌절된 사회적 성공의 공간과 밀폐된 반복적 운명의 공간의 개념 하에 구축되었다. 아파트의 주 출입구가 가장 위쪽에 있어서 모든 인물들이 외부로 나가려면 가장 높은 곳으로 올라가는 구조를 선택하였다. 그래서 밖(꿈)을 향해 아침에 올라갔다면 저녁에는 여지없이 굴복당해 내려오는 시각적 움직임이 드러나길 의도하였다. 시노그래피가 제공하는 공간이 인물들의 주어진 환경이 되어 시종일관 인물들의 연기에 영향을 미치도록 의도하였다. 그리고 이론적 고찰을 넘어 공연에 실제로 적용하여 <어느 계단 이야기>의 새로운 시노그래피적 가능성을 확인하였다.