• ETRI Journal
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• v.34 no.3
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• pp.330-340
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• 2012

In many applications of wireless sensor actor networks (WSANs) that often run in harsh environments, the reduction of completion times of tasks is highly desired. We present a new time-aware, energy-aware, and starvation-free algorithm called Scate for assigning tasks to actors while satisfying the scalability and distribution requirements of WSANs with semi-automated architecture. The proposed algorithm allows concurrent executions of any mix of small and large tasks and yet prevents probable starvation of tasks. To achieve this, it estimates the completion times of tasks on each available actor and then takes the remaining energies and the current workloads of these actors into account during task assignment to actors. The results of our experiments with a prototyped implementation of Scate show longer network lifetime, shorter makespan of resulting schedules, and more balanced loads on actors compared to when one of the three well-known task-scheduling algorithms, namely, the max-min, min-min, and opportunistic load balancing algorithms, is used.

• Journal of Information Technology Services
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• v.18 no.4
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• pp.171-190
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• 2019

This study comparatively analyzes the cases of CDMA (Code Division Multiple Access) and WIPI (Wireless Internet Platform for Interoperability) to find out the success and failure factors of technology policies in the field of mobile communication industry. For this purpose, the two cases are analyzed through a new analysis framework, which is made by combining System of Innovation with a range of variables derived from precedent studies, such as external environment, institutions, technological system, governance structure, and interactions of actors. The results of analysis show that in the CDMA case, the following factors led to success ; Korea made good use of the external opportunities in the early stage of digital communication technology and adopted a suitable governance structure for the technological system. Main actors in Innovation System had strong will for success and engaged in cooperative interaction. For the WIPI, however, the timing of technology policy was inappropriate and a unsuitable governance structure for technological system was chosen because of path dependence. The Innovation System failded to respond efficiently to the situation where conflicts among actors had intensified, US trade pressure had increased and innovative smartphones emerged. The results of this study provide the practical implications for the success of technology policy; namely it is important to choose a governance structure that suits the external environment and characteristics of technology and to activate cooperative interactions among actors in Innovation System.

• Journal of Contemporary Eastern Asia
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• v.20 no.2
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• pp.157-173
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• 2021

In the transition to a multipolar international system, the literature has focused on great power competition while little attention has been given to the strategic possibilities of smaller states. However, as a result of globalization, states are so closely interconnected that the primary strategies of even major powers are not to achieve zero-sum solutions but to create asymmetric dependency through which they can influence the behavior of other states and non-state actors. States are assisted in this effort by a variety of tools, including setting up institutions, direct economic influence and through building different forms of infrastructure connectivity networks. By discussing asymmetric dependency situations from the perspective of the great powers, the literature presents smaller states primarily as passive actors, paralyzed by their dependence on great powers. Our paper argues that interdependence allows smaller states to effectively influence larger actors and examines strategies from which smaller states can choose in order to influence the behavior of larger states. Despite an extremely asymmetric relationship between Myanmar and China, actors in Myanmar have sought to influence China's Myanmar policy. We examine a case study of the Myitsone Dam, including Myanmar's strategic aims, chosen strategy and limitations in maneuvering space. Semi-structured interviews with local decision-makers and stakeholders are conducted in order to portray the full picture. Our study concludes that further research on the influencing strategies of small states in response to asymmetric dependence can contribute to a better understanding of the interdependence of states.

• Journal of Information Technology Applications and Management
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• v.30 no.4
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• pp.77-86
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• 2023

This study conducted sentiment analysis on Hong Kong cinema from two distinct eras, pre-2000 and post-2000, examining audience preferences by comparing keywords from movie reviews. Before 2000, positive keywords like 'actors,' 'performance,' and 'atmosphere' revealed the importance of actors' popularity and their performances, while negative keywords such as 'forced' and 'violence' pointed out narrative issues. In contrast, post-2000 cinema emphasized keywords like 'scale,' 'drama,' and 'Yang Yang,' highlighting production scale and engaging narratives as key factors. Negative keywords included 'story,' 'cheesy,' 'acting,' and 'budget,' indicating challenges in storytelling and content quality. Word2Vec analysis further highlighted differences in acting quality and emotional engagement. Pre-2000 cinema focused on 'elegance' and 'excellence' in acting, while post-2000 cinema leaned towards 'tediousness' and 'awkwardness.' In summary, this research underscores the importance of actors, storytelling, and audience empathy in Hong Kong cinema's success. The industry has evolved, with a shift from actors to production quality. These findings have implications for the broader Chinese film industry, emphasizing the need for engaging narratives and quality acting to thrive in evolving cinematic landscapes.

• Journal of the Economic Geographical Society of Korea
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• v.6 no.1
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• pp.233-247
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• 2003

Ecotourism is widely known to be a sort of alternative tourism which seeks to keep balance between conservation and development. Successful ecotourism is not just dependent upon natural/cultural resources but also the consensus-building and collaboration among actors involved in the development of ecotourist attractions. In this sense, the establishment of good local governance can be crucial to achieve both conservation and development which are incompatible one another. Governance is carried out through self-organising, inter-organisational networks, which is emerging as new forms of collective decision-making at local level. Governance leads to the development of different relationships, not simply between public/ nonpublic agencies but between citizens and public/nonpublic agencies. I represent some key dimensions to construct good local governance in ecotourism: i) the creation of socio-institutional milieu that facilitate interactions among actors related to ecotourism; ii) actors involved in ecotourism taking responsibility to play an appropriate role in their own position. I argue that interactive relationships and consensus-building between different actors can be promoted by collective actions such as the sharing of information and resources, co-education and co-training, and seminars. It therefore implies that local good governance cannot be established without local social capital based on trust and cooperation between actors.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.502-511
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• 2016

This article reviews the film acting studies of Kracauer presenting the basic approach of traditional film theory. It is to provide a foundation for film acting theory in order to activate the domestic acting studies. While Kracauer explaines the difference between traditional stage actor and film actor in 'Remarks on the Actor' of Theory of Film(1960), he suggests the characteristics of the cinema acting and its media technical meanings. He emphasizes the acting forms presenting the postwar new realism in his film acting studies. His approach takes the perspective of 'physical reality' or 'camera reality' which is the basic premise of film theory. Kracauer insists the naturalness of the actors, listing the features of professional actors, non-professional actors and Hollywood stars as they are a familiar classification for the types of actors. He does not prefer the Hollywood stars, whether it is fiction or documentary, professional or non-professional actors, but he emphasizes negative acting, the ability to express words by doing nothing, based on indeterminacy or indefiniteness of the film. Kracauer's film acting studies has affected later film theory and media-related acting, and has become the principles of cinema textbook and acting.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.224-230
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• 2010

The method to approach to acting today is based upon Stanislavski's initial theories. This method that emphasizes actors' inner world makes actors nervous and frustrated over again. Watching actors' agony, Stanislavski tried to find a fine method all his life that actors could approach to acting more easily. He, at last, created a new method in the sunset of his life, so called physical action, which approaches to emotion through action. However, it has not been accepted widely because it was transmitted to the western world too late. Emotion is not the thing that everyone can handle freely. But everyone can handle action easily. It can, therefore, be an excellent method to reduce actors' agony. This study tried to experience Stanislavski's physical action with a text and to find out how it works as an acting method. As a result of it, Stanislavski's physical action proved to be a valuable method to complement the existing one, and also to have many other positive effects on the natures of acting.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.3
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• pp.334-349
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• 2008

In this study, the network formation process of personal actors in industries for the elderly was analyzed. This process is applied to the knowledge creation model of the SECI (Nonaka-Takeuchi learning cycle), that is socialization, externalization, combination, internalization. There are some kinds of opportunities to interact in these industries in the forms of field survey teams to overseas, some seminars and symposiums, many kinds of meetings, education and training programs, trade fairs and on-line forums. These palces(ba) - originating ba, interacting ba, cyber ba, exercising ba - played great roles in the formation of personal actor networks. Personal actors had opportunities to interconnect with distant actors through those places(ba). In the spatial perspective, personal actors could make face-to-face contact and build trust through temporary geographical proximity or temporary clusters with the help of personal mobility. Relations in the virtual spaces such as the Internet community did much toward building personal networks.

• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.274-289
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• 2019

The purpose of this study is to regard the non-fiction participants in the reality observational entertainment program as social actors. For this, the study has examined the concepts of social actor and performance, understood how the performances of social actors are projected onto the screen, and textually analyzed Youn's Kitchen season 2. As a result, the non-fiction participants(the guests) of Youn's Kitchen functioned as the social actors who performed the roles derived from their social relations under the consciousness of the camera. The more the number of social actors in the observational space increased, the more the number of their performing roles grew. Their everyday activities have been chosen by various filmic devices, such as the cameras, within the specific frame of hybrid performance mode that representational and presentational performances coexist.