• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.8
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• pp.208-214
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• 2016

With the rising interest in intelligence information technology built on artificial intelligence and big data technologies, all countries in the world including advanced countries such as the United States, the United Kingdom, Japan and so on, have launched national investment programs in preparation for the fourth industrial revolution centered on the software industry. Our country belatedly recognized the importance of software and initiated the 2015 revised educational curriculum for elementary and secondary informatics subjects. This paper thoroughly analyzes the new educational curriculum for information science in high schools and, then, suggests improvements in the areas of information ethics and multimedia. The analysis of the information science curriculum is applied to over twenty science high schools and schools for gifted children, which are expected to play a leading role in scientific research in our country. In the future artificial intelligence era, in which our dependence on information technology will be further increased, information ethics education for talented students who will play the leading role in making and utilizing artificial intelligence systems should be strongly emphasized, and the focus of their education should be different from that of the existing system. Also, it is necessary that multimedia education centered on digital principles and compression techniques for images, sound, videos, etc., which are commonly used in real life, should be included in the 2015 revised educational curriculum. In this way, the goal of the 2015 revised educational curriculum can be achieved, which is to encourage innovation and the efficient resolution of problems in real life and diverse academic fields based on the fundamental concepts, principles and technology of computer science.

• The KIPS Transactions:PartA
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• v.15A no.1
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• pp.53-60
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• 2008

Streaming media has contributed to a significant amount of today's Internet Traffic. Like traditional web objects, rich media objects can benefit from proxy caching, but caching streaming media is more of challenging than caching simple web objects, because the streaming media have features such as huge size and high bandwidth. And to support various bandwidth requirements for the heterogeneous ubiquitous devices, a transcoding proxy is usually necessary to provide not only adapting multimedia streams to the client by transcoding, but also caching them for later use. The traditional proxy considers only a single version of the objects, whether they are to be cached or not. However the transcoding proxy has to evaluate the aggregate effect from caching multiple versions of the same object to determine an optimal set of cache objects. And recent researches about multimedia caching frequently store initial parts of videos on the proxy to reduce playback latency and archive better performance. Also lots of researches manage the contents with segments for efficient storage management. In this paper, we define the 9-events of transcoding proxy using 4-atomic events. According to these events, the transcoding proxy can define the next actions. Then, we also propose the segment-based caching policy for the transcoding proxy system. The performance results show that the proposing policy have a low delayed start time, high byte-hit ratio and less transcoding data.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.17-24
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• 2020

This study examined the spectral information and reflectance of cracks of an embankment with drone-based hyperspectral imagery for crack detection. A Nano-Hyperspec mounted on a drone was used as a sensor, and hyperspectral videos of different intensities of illumination of the cracks on the embankment located in the downstream of Andong-Dam were obtained. An analysis of the data value of the illumination and peak data-value, the coefficients of determination were calculated to be 0.9864 of the uncracked areas and 0.9851 of the cracked area. The reflectance of each area showed a similar value and pattern, regardless of the intensity of illumination. This result may have occurred because the reference values of the white reference as the calculation criteria of reflectance varied according to the intensity of illumination. The reflectance at the cracked area was 5.65% lower in visible light and 4.58% lower in near-infrared light than that at the uncracked area. The detection of cracks may offer more precise results in further studies when the gimbal direction and camera angles of the drone are calibrated. Because hyperspectral imagery enables the detection of crack depths and types of clay minerals, which are difficult to identify in general RGB imagery, it can serve as a preemptive measure for evaluating the embankment stability.

• Journal of Distribution Science
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• v.13 no.8
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• pp.97-104
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• 2015

Purpose - This study examines the positive impact of the social distance between producers and users of online content, investigating and analyzing the most popular Web content. In addition, it tries to elicit the matching effect that appears when the individuals'cultural background is consistent with social distance. Research design, data, and methodology - We collected and analyzed actual data about 4,981 videos clips on YouTube, looking at six countries in order to verify the content of this study. Based on the results of the data analysis, the study conducted behavioral measurements on popularity, social distance, culture, and user engagement. The unit of analysis was the content and we collected information about the content producers and the content records. We controlled the views, comments, likes, calendar dates, and ages in the empirical models. The data was collected in 2011, with the records coming from South Korea, Japan, China, U.S., German, and France. A total of 4,980 elements were analyzed in the model. The empirical model estimated is the bivariate negative binomial distribution (NBD) model. Results - It turns out that there is a possibility that the matching effect can be diminished by variables that reflect the psychological involvement of user engagement. This study proposes academic and practical implications based on these research results. This research shows the positive effect of social distance between users and producers on the increased performance of the online content. We find the effect of social distance to be a stronger tendency in collectivism. The collectivists follow their sense of friendship and intimacy in their culture and, the social congruence effect can be found there as well. The effect, however, could erode in a social case where users are motivated by strong intrinsic and psychological factors. In addition, user engagement complicates the process of user decision making regarding the information. Conclusions - This study examines how the differential effects of social distance caused by culture could disappear through user commitment as a complicated user motivation. Some potential implications are as follows. First, a firm in the collectivism culture has to communicate based on the social distance. In fact, most online channels do not have a function that indicates the social distance as measured by favorites or subscribers. This function could help increase the performance of the content in online channels, but this increasing effect can only be found in a collectivist culture. Based on this, the firms have to communicate and announce to users the actual social distance between users and producers. Second, firms should develop a system that discovers the social distance and culture and shows these measures to users and producers, since the congruence effect between social distance and culture is found only for low user engagement. The firms can take the advantage of the congruence effect only for the development of the social distance and culture visualized system.

• Archives of design research
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• v.19 no.4 s.66
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• pp.121-132
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• 2006

In the Western Philosophy that was centered on reason, sense has been belittled as a low level of conception under reason. However, the 21st century modern visual environment pushes away the epistemology centered on reason and puts 'sensuality' and 'sense' on its place. Especially, public films are one of the fields that rapidly reflect such changes and lead the changes. However, unfortunately, it is difficult to find such efforts that reflect the artistic and aesthetic significance of sense from the public films. It is because that sense is considered superficial and somewhat not real, while recognizing sense as the low level of conception under reason over the long history. Given the fact, this study reviews the by Gilles Deleuze, a modern philosopher who gives a new value on sense, and it would be meaningful to analyze the works of Chris Cunningham who makes films with the concept of Gilles Deleuze. After we analyzed three music videos of Aphex Twin directed by Chris Cunningham, we can ascertain that the films are based on body without Oranges, hysteric, and diagram that are suggested from by Gilles Deleuze. Analyzing recently released films centered on 'sense' in a superficial manner that includes production method or picture composition, including the films of Chris Cunningham, falls into the error of overlooking the director's aesthetics. Understanding the modern logic of sense that is newly developing, studying its substance, and analyzing the films will make a sacrifice of suggesting a new alternative.

• Cartoon and Animation Studies
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• s.32
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• pp.23-42
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• 2013

The music videos of and were made based on the music of Pink Floyd and Beatles. This study aims to compare the characteristics of the two songs in terms of music and storytelling method. Previous studies investigated the narrative structure and concept of the storytelling, which are the basis of the images. This study, a comparative study of the two songs, firstly analyzed the narrative structure focusing on the roles and relationships among characters in each song. Secondly, it investigated the method of composition structure and the characteristics of the two pieces of music of which genre is different from each other. Thirdly, it classified the images into intro part, development part, and conclusion part and analyzed by comparison how the song or images inserted in the music interacts with each other. As a result, it was found that described strong progressive rock from the subjective viewpoint through the material storytelling structure by space and it represents the alienation of the hero through simile and metaphor, spatial changes crossing the past and the present, and the actual and non-actual crossover directing. On the other hand, developed a narrative storytelling structure in which progressive fantasy images developed from the psychedelic viewpoint through the confrontation of the good and the bad to deliver the messages of love and peace.

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Science of Emotion and Sensibility
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• v.18 no.2
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• pp.75-84
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• 2015

Although various methods have been proposed and utilized for video reality improvement, use of olfaction still remains at a rudimentary stage. Previous research reported reality improvement effect of some scents when a video displayed specific objects whose odors matched to the scents provided. In addition, another study showed that provision of scents that correspond to the prevailing color of a video improves sense of immersion. However, the above studies have clear limitations because not all videos have specific odor or obvious color. Assuming, in this study, that sensibility-based scent provision in the absence of main odor or color will increase sense of reality, the present study aimed at building adjective profiles of various scents that convey different sensibilities. To this end, in Experiments 1 and 2, we collected a set of adjectives appropriate for description of scents, and in Experiment 3, we built profiles of 16 scents using 30 adjectives. In addition, we grouped scents of similar sensibilities using cluster analysis. These results could be used not only for video reality improvement but also for the purposes of emphasizing product concepts or store positioning, etc.

• Science of Emotion and Sensibility
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• v.10 no.4
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• pp.539-554
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• 2007

Pilots of large airplanes have to land their airplanes with insufficient visual information because of high approach speed, high vertical velocity and high location or altitude of the cockpits from the runway intending to touch down. This study verifies that, due to the insufficient information, large airplane pilots can't exactly perceive height of their airplanes during the flare. Study 1 explored whether it's possible for the pilots to accurately perceive height with the static visual cues only. We showed them pictures of the runway taken from the pilot's pionts of view and asked them to assess the height of the airplanes. They determined exact height of the airplanes at the height of 85 feet, but they could not, at lower than 55 feet which is the flare preparation altitude. Study 2 explored whether it's possible for the pilots to accurately perceive height when dynamic cues were added to the static visual cues. We showed them videos of the runway taken from the pilot's pionts of view. With more cues they determined exact height of the airplanes at the height of 50 feet, but they could not, at the altitude of lower than 30 feet which is the flare altitude. As experience is believed to be a major factor which affects interpretation of the visual cues, we compared the accuracy of the assessment of the experienced captions and that of the in-experienced first officers. We found there was no significant difference between them.