• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• Journal of Korea Multimedia Society
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• v.13 no.11
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• pp.1715-1727
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• 2010

Although a hand haptic interaction which provides direct and natural sensation is the most natural way of interacting with VR environment, the hand haptic interaction has still limitations with respect to the complexity of articulated hand and related hardware capabilities. Particularly, virtual assembly simulation which refers to the verification process of digital mockup in product development lifecycle is one of the most challenging topics in virtual reality applications. However, hand haptic interaction is considered as a big obstacle, because difficulty initial grasping and non-dextrous manipulation remain as unsolved problems. In this paper, we propose that common hand haptic interactions involves two separate stages with different aspects. We present the hand haptic interaction method enables us to stably grasp a virtual object at initial grasping and delicately manipulate an object at task operating by one's intention. Therefore, proposed method provides the robustness using grasping quality and dextrous manipulation using physically simulation. We conducted experiments to evaluate the effectiveness of our proposed method under different display environments -monoscopic and stereoscopic. From 2-way ANOVA test, we show that the proposed method satisfies two aspects of hand haptic interaction. Finally, we demonstrated an actual application of various assembly simulation for relatively complex models.

• Journal of Institute of Control, Robotics and Systems
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• v.9 no.8
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• pp.592-599
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• 2003

As one of the Principal modalities of human sensation, tactile feel is prerequisite for building wide variety of applications such as telemanipulation, virtual reality and medical engineering. A dynamic Braille display device based on a polymer actuator is presented. The actuator, often called artificial muscle actuator has advantageous features over the existing methods in terms of intrinsic softness, ease of fabrication, cost-effectiveness and miniaturization. The principles of actuation with dielectric elastomer is introduced, and necessary considerations on the design of a tactile display device are discussed. The design of the device is described in detail including the fabrication process and driving electronics. Also, preliminary results of experiments are given to evaluate its performance.

• 제어로봇시스템학회:학술대회논문집
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• 2003.10a
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• pp.2687-2692
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• 2003

Recent advancement in information technology requires new interpretations for the space among human, machines and environment. Investigation of space between information and human could lead to the proper ways, in which human and machines meet. Various concepts regarding space have been explored in terms of “virtual reality in cyberspace” and “embodiment in tangible space.” “Mom (embodiment),” space, virtuality, sensation/perception, and interactive technology are some of the key ideas to be explored. Human “Mom” is such a fundamental membrane through which human can interact with the environment physically and mentally. An embodied interaction paradigm, based on “Mom,” is investigated. This leads to interactive technology paradigm. Sound space is an invisible but a tangible space in a sense that it travels in emotional tremors and stimulates new sensations and perceptions. Three cases are introduced to experiment such tangible space as a new and proper interactive paradigm. Also, a historical model of interaction is reviewed, which includes electrical, symbolic, textual, graphical, tangible, and social interaction.

• Cartoon and Animation Studies
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• s.29
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• pp.77-102
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• 2012

Interactive Media Art has been developed a lot in digital age. Especially, the audience try to make interactions by accessing the world of art as one of main interacting figures, while they used to be totally separated from the art in traditional art. Also, it is one of exclusive features distinguished from the other art genres. In this thesis, the intercommunication process of interactive media art is classified and compared with Merleau-Ponty's corporeity phenomenology theories. Merleau-Ponty's corporeity phenomenology insists integrated perception through body against the western intelligence philosophy focusing on binomial reasons. Merleau-Ponty's corporeity phenomenology, which suggested the new perception way towards the art, is analyzed in this thesis by comparing it with detailed factors of Intercommunication process of Interactive Media Art. The Intercommunication process of Media Art is classified into , , , , . Additionally, they are studied and compared with the concept of , , , , out of Ponty's corporeity phenomenology theories. Therefore, it is concluded clearly that corporeity, synesthesia, poly sensation and spaciality drawn from Intercommunication process of Media Art have something in common with Ponty's corporeity phenomenology theories rather than the other art genre or minimalism art styles. Furthermore, a new direction of study upon modern Interactive Media Art is suggested.

• Journal of Mechanical Science and Technology
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• v.19 no.spc1
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• pp.272-282
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• 2005

A vehicle driving simulator is a virtual reality device which makes a man feel as if he drove an actual vehicle. Unlike actual vehicles, the simulator has limited kinematical workspace and bounded dynamic characteristics. So it is difficult to simulate dynamic motions of a multi-body vehicle model. In order to overcome these problems, a washout algorithm which controls the workspace of the simulator within the kinematical limitation is needed. However, a classical washout algorithm contains several problems such as generation of wrong sensation of motions by filters in tilt coordination, requirement of trial and error method in selecting the proper cut-off frequencies and difficulty in returning the simulator to its origin using only high pass filters. This paper proposes a washout algorithm with new tilt coordination method which gives more accurate sensations to drivers. To reduce the time in returning the simulator to its origin, an algorithm that applies selectively onset mode from high pass filters and return mode from error functions is proposed. As a result of this study, the results of the proposed algorithm are compared with the results of classical washout algorithm through the human perception models. Also, the performance of the suggested algorithm is evaluated by using human perception and sensibility of some drivers through experiments.

• 제어로봇시스템학회:학술대회논문집
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• 2005.06a
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• pp.57-61
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• 2005

This paper presents a new colonoscopy training simulator that includes a specialized haptic device and graphics algorithms to transfer haptic sensation through a long and flexible tube, and manage large number of polygons. The developed haptic device makes the colonoscope tube move along the two guiding rods in the translational direction. The torque of the roll motion is transferred by a timing belt and pulleys. A special guide is developed, which allows the force and torque from the motors to be transmitted to the user without loss. The haptic device is evaluated by physicians. One of the important skills of the colonoscopy, jiggling is incorporated for the first time by the developed sensor mechanism using photo-sensors. A colonoscope handle that shares the look, feel, and functions with the actual colonoscope, is developed with the necessary electronics inside. The number of polygons is reduced by an edge-collapse algorithm for real-time simulation. The algorithms to import CT data, to segment the colon image, to extract centerline of the colon, and to construct the colon surface, are integrated into a Colon Modeling Kit system that performs all these processes in real-time.

• Journal of Institute of Control, Robotics and Systems
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• v.11 no.5
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• pp.445-450
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• 2005

In this paper, we suggest an integrated tactile display system that provides kinesthetic force, pressure distribution, vibration and slip/stretch. The system consists of two parts: a 2 DOF force feedback device for kinesthetic display and a tactile feedback device for displaying the normal stimulation to the skin and the skin slip/stretch. Psychophysical experiments measure the effects of fingerpad selection, the direction of finger movements and the texture width on tactile sensitivity. We also investigate the characteristics of lateral finger movement while subjects perceive different textures. From the experimental results, the principal parameters for designing a tactile display are suggested. A tactile display device, using eight piezoelectric bimorphs and a linear actuator, Is implemented and attached to a 2 DOF translational force feedback device to simultaneously simulate the texture and stiffness of the object. As a result, we find out that the capability of the suggested device is sufficient to display physical quantities to display the texture.

• Smart Media Journal
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• v.1 no.4
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• pp.8-17
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• 2012

In this paper, we introduce the appoaches that aim to improve user experience in mobile device by the use of multiple vibration signal feedback, conducted by Haptics and Virtual Reality laboratory at POSTECH. We introduce current progresses of our 'Vibrotactile flow using multiple vibration actuators' and 'Real-time dual-channel haptic music player.' The 'Vibrotactile flow using multiple vibration actuators' produces vibrotactile flow sensations by using multiple actuators and that improves the information transfer on mobile devices. The 'Real-time dual-channel haptic music player' generates vibrotactile sensation by transforming auditory signal, which improves the user experience of mobile devices. These approaches can be good examples to fulfill the demands of better information transfer capability and user experience on mobile devices.

• Journal of Digital Contents Society
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• v.16 no.4
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• pp.659-669
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• 2015

Recently, media art is transforming from analogue to 'digital', and from 2D to '3D'. In particular, the range of utilizing 3D Media Art is getting wider through merging with other genres of contents in the digital environments, such as Media façade, Hologram, Virtual reality, App application, and etc. Therefore, by referring to the 3D award-winning works of Pirx Ars Electronica, which are regarded as the most outstanding works of media art of today, factors that affect sensation of visual immersion have been analyzed, through which strategies for maximizing viewers' interests in media arts and heightening their emotions while viewing have been determined. Based on the findings of the study, it has been shown that such works of media arts that involve development of concepts with 'creativity' and 'variability' from the perspective of visual concept, such as 3D modeling and mapping, with 'consistency' through out all concepts, as well as the works with stronger 'restriction' of concept within its animation and postproduction, attracted more interests from the viewer. From the point of view with visual four steps in composition, positioning the change in quality of 3D 'shape' and 'material' following the four-step rule, and gradual increase of change in quantity within the 'number' and 'size', in addition to increased degree of systematization within the change in editing, such as the 'scene change', resulted in more heightened emotions from the viewer. Thus, in order to maximize sensation of visual immersion, strategies for 'developing 3D visual concepts' while 'synchronizing' them, as well as 'strengthening the four steps within 3D visual composition' while 'systematizing' them should be emphasized.