• The Journal of the Acoustical Society of Korea
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• v.14 no.2
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• pp.50-61
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• 1995

A time scale modification method yielding rate-modified speech while conserving the characteristic of speech was implemented in real-time using a goneral purpose digital signal processor. Time scale modification changed pronunciation speed only, producing a time difference between the input signal and the modified signal, making it impossible to implement it in real-time. In this thesis, a system was implemented to remove the time difference between the input and modified signals. Speech signals slowed down or speeded up by a physical time scale modification method, such as adjusting the motor speed of the cassett tape recorder, was used as the input signal. Physical modification that controled only the inter speed of the cassette tape player distorted the pitch period of the original speech. In this study, a real-time system was implemented so that the pitch-distorted speech was reconstructed back to the original by fractional sampling pitch shifting using an FIR filter, and this signal was time scale modified to match the cassette tape recorder motor speed using SOLA time-scale medification. In experiments using speech signals medifiedby the proposed method, results obtained using a 16-bit resolution ADSP2101 processor and using computer simulations employing floating point operations showed about the same average frame signal-to-noise ratio of about 20 dB.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.430-435
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• 2008

Thanks to the development of IT technology, there have been developed a variety of types of portable music players. IT technology didn't stop there, however. It has gone to developing GUIs (Graphic User Interfaces) to deliver more information to the user. As the function of GUIs has become important, the music players are being required to show characteristics of the sounds they output visually beyond just delivering the sounds through analyzing the information that the sounds contain. To visualize the information of sounds, that is to say, has become substantial. In this process, sound graphic equalizers have been developed in order. The object of this study is to produce a new sound graphic equalizer with new forms of expressing visual images of sounds besides the bar graphs, in which user feedback is possible. This study has devised a new sound visualization form in visually expressing the information of sounds by analyzing their characteristics. This new sound visualization provides a sound graphic equalizer with which the user can select images for the information of the sounds s/he listens. This study suggests a new alternative GUI with which the user can change the form of the outputted images in realtime as communicating with the player.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Journal of Distribution Science
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• v.9 no.4
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• pp.93-102
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• 2011

With the increasing interest in boosting conventional markets, many authors have paid considerable attention to the roles of shop owners, store image improvement, and how to attract or maintain customers. Nevertheless, it is not easy to find papers related to the relationship between shop owners and their contribution to trading areas, directly or indirectly, in the academic world. Accordingly, research for answering the following question has been initiated: what kind of roles do shopkeepers should play in revitalizing poor conventional markets? Based on the previous studies focusing on enhancing traditional markets, this research was approached from the new insights that have been obtained concerning how to boost conventional markets, that is, from the perspectives of a shop owner and a trader. Therefore, this research aims at identifying some resolutions associated with the roles of shop owners to enhance a shopping district in a specific area, classifying their business roles into a few categories, depending on the degree of their participation in improving the shopping environment. Compared with previous studies focusing on emphasizing the importance of improving customer services from a shopkeeper's perspective, this research provides a new insight as far as how to boost conventional markets. It is, furthermore, necessary to note how market participants, particularly shop owners as they are the key players, can contribute to rebuilding their business area together with their customers. As a research technique for effectively achieving the research goal, the authors adopted a documentation methodology based on a large amount of the existing literature for studying how to rebuild traditional markets. Concerned about the ways to revitalize conventional markets, many authors have proposed a variety of strategies, and have suggested more detailed action plans from a practitioner's perspective. By analyzing these research results, the authors will have accomplished the research aim. Rather than simply identifying the roles of shop owners, the author found that they had to understand their social contribution for enhancing their trading areas, as well as their functional roles, in forming a regional society. The conventional market should be, thus, regarded as the place to share regional culture. Consequently, the authors draw some conclusions from the research results. In order to answer the above question, it was found that the roles of shop owners have been considered as one of the most important ways for revitalizing traditional markets. With respect to their roles, it is evident that their business activities are closely related to the improvement of the trading area in terms of sociality, regional development, and market revitalization, by selling products or services to the customers visiting that area. In a word, this implies that shop owners have to actively take part in boosting conventional markets as a core player. Although the authors have properly achieved the research aim, this study has a limitation, like most other research, in adopting a documentation method. Because the research is based on existing data results provided by the prior research conducted a long time ago, whether the research findings are applicable in a contemporary market should be re-examined in future research from a practitioner's perspective, rather than from an academic's perspective.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.21-35
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• 2018

Since the introduction of MP3 players, CD recordings have gradually been vanishing, and the music consuming environment of music users is shifting to mobile devices. The introduction of smart devices has increased the utilization of music through music playback, mass storage, and search functions that are integrated into smartphones and tablets. At the time of initial MP3 player supply, the bitrate of the compressed music contents generally was 128 Kbps. However, as increasing of the demand for high quality music, sound quality of 384 Kbps appeared. Recently, music content of FLAC (Free License Audio Codec) format using lossless compression method is becoming popular. The download service of many music sites in Korea has classified by unlimited download with technical protection and limited download without technical protection. Digital Rights Management (DRM) technology is used as a technical protection measure for unlimited download, but it can only be used with authenticated devices that have DRM installed. Even if music purchased by the user, it cannot be used by other devices. On the contrary, in the case of music that is limited in quantity but not technically protected, there is no way to enforce anyone who distributes it, and in the case of high quality music such as FLAC, the loss is greater. In this paper, the author proposes an audio watermarking technology for copyright protection of high quality stereo music. Two kinds of information, "Copyright" and "Copy_free", are generated by using the turbo code. The two watermarks are composed of 9 bytes (72 bits). If turbo code is applied for error correction, the amount of information to be inserted as 222 bits increases. The 222-bit watermark was expanded to 1024 bits to be robust against additional errors and finally used as a watermark to insert into stereo music. Turbo code is a way to recover raw data if the damaged amount is less than 15% even if part of the code is damaged due to attack of watermarked content. It can be extended to 1024 bits or it can find 222 bits from some damaged contents by increasing the probability, the watermark itself has made it more resistant to attack. The proposed algorithm uses quantization in DCT so that watermark can be detected efficiently and SNR can be improved when stereo music is converted into mono. As a result, on average SNR exceeded 40dB, resulting in sound quality improvements of over 10dB over traditional quantization methods. This is a very significant result because it means relatively 10 times improvement in sound quality. In addition, the sample length required for extracting the watermark can be extracted sufficiently if the length is shorter than 1 second, and the watermark can be completely extracted from music samples of less than one second in all of the MP3 compression having a bit rate of 128 Kbps. The conventional quantization method can extract the watermark with a length of only 1/10 compared to the case where the sampling of the 10-second length largely fails to extract the watermark. In this study, since the length of the watermark embedded into music is 72 bits, it provides sufficient capacity to embed necessary information for music. It is enough bits to identify the music distributed all over the world. 272 can identify $4*10^{21}$, so it can be used as an identifier and it can be used for copyright protection of high quality music service. The proposed algorithm can be used not only for high quality audio but also for development of watermarking algorithm in multimedia such as UHD (Ultra High Definition) TV and high-resolution image. In addition, with the development of digital devices, users are demanding high quality music in the music industry, and artificial intelligence assistant is coming along with high quality music and streaming service. The results of this study can be used to protect the rights of copyright holders in these industries.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.