Receive KAIST news by email!
Type your e-mail address here.
by recently order
by view order
Game Design Guide Book for Middle-Aged and Older Adult Players Helps Rewrite Gaming Culture
The online book ‘Game Design Guide for Adults in Their 50s and Older’ helps to increase accessibility for adult gamers A KAIST multi-disciplinary research team published a game guide to respond to the new demands of senior gamers and expand the gaming market. The guide will be helpful for designing interfaces fit for senior groups as a way to minimize the cognitive burdens related to aging. It also helps readers understand older users’ cognitive abilities and socioemotional characteristics. “This guide analyzed the game experience of players in their 50s and older and converted it into a game design element that can be easily referred to by game developers and designers,” explained Professor Young Im Do from the Graduate School of Culture Technology who led the research. The gaming industry is paying attention to the emerging trend of ‘active aging’ and senior gamers. According to the National Purchase Diary Panel Inc., game play time increased significantly in the 45-64 age group compared to other age groups during the pandemic. Despite the growing number of senior gamers, it is still difficult for older novice players to start video games because most commercial games focus on younger players. For example, older players can feel frustrated if the game requires fast reflexes and accurate timing. Font sizes and objects that are too small as well as interfaces that are too complicated can be challenging for senior gamers. The research team presents how to handle these difficulties in game design considering the visual-motor coordination of people in age groups ranging from their 20s to 80s. It also proposes various game elements such as audio-visual elements, cognitive and motor elements, game rules, stories and characters, social aspects, in-app purchases, and advertisements for senior groups. The guide also proposes a game service model and introduces examples of game prototypes that apply supportive technology. For this guide, the researchers operated the “International Game Living Lab”, which is an open space for creating novel and innovative solutions by converging IT technology into daily life. In the lab, ordinary citizens, research institutes, companies, and local communities formed a cooperative network and actively participated in experiments, education, and discussions for finding solutions over three years. Researchers in multi-disciplinary fields, including computer science, psychology, game design, and gerontechnology, covered various methodologies to understand the game experience of adults in their 50s and older. In order to profile players of this age group, three different approaches were performed: visual-motor coordination experiments, an EEG (Electroencephalogram) test, and a gameplay workshop. Then, they converted the results into practical knowledge that can be used in the gaming industry. Professor Kyung Myun Lee from the School of Digital Humanities and Computational Social Sciences at KAIST, Professor Byungjoo Shin from Yonsei University, CEO Junyoung Shin of CareU, and CEO Minseok Doh of Heartverse participated in this online book which is available to the public at https://wikidocs.net/book/7356.
KAIST and KNUA to Collaborate on Culture Technology
Distinguished Visiting Scholar Soprano Sumi Jo Accompanied by AI pianist ‘VirtuosoNet’ during the Special Concert at KAIST KAIST will expand the convergence of arts education and culture technology research in collaboration with the Korea National University of Arts (KNUA), the nation’s top arts university. KAIST President Kwang Hyung Lee signed an MOU with President Daejin Kim of the Korea National University of Art on January 6 at KAIST’s Daejeon campus for collaborations in arts education and research. KAIST and KNUA will expand educational programs such as student exchanges and co-credit programs. The two universities will team up for cooperation focusing on research centers and academic conferences for the creation of culture technology and convergence arts. Minister of Culture, Sports, and Tourism Hee Hwang also attended the ceremony. Minister Hwang said that the Ministry will invest 132 billion KRW in R&D for developing metaverse and content technologies. He added that this collaboration will be a very meaningful turning point for creating a new culture combining high-level technologies. President Kim also expressed his expectations saying, “The collaboration of our two universities will generate a huge synergistic impact for nurturing talents and the creation of convergence arts. President Lee said that the collaboration with KNUA will take KAIST another step forward as it aims to foster well-rounded talents. “We look forward to proactive collaborative research that will expand the new chapter of convergence arts and future stage performances.” Right after the signing ceremony, world renowned soprano Sumi Jo, who was named a Distinguished Visiting Scholar, took the KAIST auditorium stage for a special concert. AI pianist ‘VirtuosoNet’, developed by Professor Juhan Nam at the Graduate School of Culture Technology, made its debut at the concert by playing Mozart’s Turkish March arranged by Arcardi Volrodos. VirtuosoNet also accompanied Soprano Jo on one of her songs. The concert by Sumi Jo and AI pianist VirtuosoNet heralds what KAIST is pursuing for education and research in culture technology. The Graduate School of Culture Technology plans to conduct research on future culture industries combined with technologies for the metaverse. The Sumi Jo Performing Arts Research Center will conduct research on performing technologies together with virtual artists. Head of the Graduate School of Culture Technology Woontack Woo said that KAIST will expand the sphere of the culture industry including tourism in collaboration with KNUA by incorporating technology into arts.
Recipe for Success: Reputations Start from Inner Circles
A study on social network data of EDM DJs finds the relationship between social standing and identity building If you would like to succeed in your career, carve out your own distinctiveness, then break your boundaries along with collaborators. This sounds very common. However, a study on social networks has proven that is the recipe for success. A recent research on electric dance music DJs’ music identity and their reputation found that music DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in terms of their social standing. What do Calvin Harris, the star of Electro house, Diplo, the icon of Moombahton & Trap, Sebastian Ingrosso, the master of Progressive House, and Armin Van Buuren, the leader of Trance have in common? One commonality of these star DJs in the electronic music market is that they are the leaders who build their genres with solid musical identities and are artists who constantly try experimental and innovative connections with other genres. Professor Wonjae Lee and Dr. Hyeongseok Wi from the Graduate School of Culture and Technology analyzed the playlist data performed by electronic dance music (EDM) DJs at several EDM festivals that were popular around the world before COVID-19 and the track data that they released during that period. “This study investigates how social standing is attained within a professional group of artists whose members play a key role in evaluating their artistic products in the EDM market,” said Professor Lee. Particularly, the team considered DJs' social standing as an effective means of ensuring the quality of their artwork in emerging music markets such as EDM and identified two important factors, the musical identity and the social position within the professional DJ’s group. They analyzed the data from 3,164 playlists of 815 DJs who performed at nine festivals held from 2013 to 2016 as a sort of citation network among DJs, and transformed it into network data to measure social positions among the DJs. They considered the DJs who received a lot of citations from other DJs as having a high social standing. In addition, the genre, beats per minute (BPM), and key scale data of the songs released during the period were quantified to analyze the association with the musical identity. First, the results of analysis of the released track data demonstrated that focused distinct musical identity is correlated with social standing among EDM DJs. The EDM market is an emerging specialist market that is constantly developing and differentiating new styles and genres. It includes artists who establish value criteria and demarcate categorical space into separate identity positions reflecting the artistic forms of a similar type. Second, this study focuses on the two advantages of two types of social positioning, brokerage and cohesive, which can effectively reduce uncertainty in the market. The results show that DJs with a hybrid position, combining elements of both brokerage and cohesion, have higher social standing. This hybrid position is the most advantageous position for controlling new opportunities and inflows of resources and for utilizing them. Unlike existing studies that divide the merits of the two positions into a dichotomy, this study follows the practice of recent studies that show that the two positions can generate synergy in a complementary manner. The remix culture prominent in EDM provides a convincing explanation for this phenomenon. Because constructing playlist sets represents a DJ’s main specialty, the ability to creatively combine a variety of tracks using one’s own artistic style is crucial. To showcase their remix skills, DJs skillfully select tracks to maximize the displays of their talent. Recognized DJs prefer to select tracks from other genres, borrowing from existing contexts and creating new reinterpretations while drawing upon their own musical backgrounds. “Acquiring social acknowledgement within a professional group is an effective way to ensure the quality of products they produce and a strong reputation,” explained Professor Lee. The research team also pointed out the unique case of Techno DJs, who are showing Galápagos syndrome by avoiding crossover between genres and sticking to their own musical identity, unlike most genres in EDM. This research was reported in PLos ONE on Aug. 25 and funded by KAIST and the BK21 Plus Postgraduate Organization for Content Science. -ProfileProfessor Wonjae LeeGraduate School of Culture TechnologyKAIST -PublicationHyeongseok Wi, Wonjae Lee “Stars inside have reached outside: The effects of electronic dance music DJ’s social standing and musical identity on track success,” Aug.25, 2021 PLosONE (https://doi.org/10.1371/journal.pone.0254618)
Rachmaninoff the most innovative of 18th and 19th century composers according to network science
Rachmaninoff, followed by Bach, Brahms and Mendelssohn, was the most innovative of the composers who worked during the Baroque, Classical and Romantic eras of music (1700 to 1900) according to a study published in the open access journal EPJ Data Science. A team of researchers from KAIST (Korea Advanced Institute of Science and Technology), calculated novelty scores for 900 classical piano compositions written by 19 composers between approximately 1700 and 1900. The scores were based on how musical compositions differed from all prior pieces of piano music and how they differed from previous piano works by the same composer. The authors found that composers from the Romantic era (1820 to 1910) tended to have high novelty scores. The authors from the Graduate School of Culture Technology at KAIST created a computer model which divided each composition into segments called ‘codewords’. Each ‘codeword’ consisted of all of the notes played together at a given time. Sequences of ‘codewords’ were then compared between compositions. The similarities between the sequences were used to create novelty scores for each composer and to determine the extent to which composers influenced each other. Juyong Park, the corresponding author, said: “Our model allows us to calculate the degree of shared melodies and harmonies between past and future works and to observe the evolution of western musical styles by demonstrating how prominent composers may have influenced each other. The period of music we studied is widely credited for having produced many musical styles that are still influential today.” The model distinguished each new musical period from the one before it by the rise of newly dominant and highly influential composers that indicated dramatic shifts in musical styles. The authors found that compositions from the Classical period (1750 to 1820) tended to have the lowest novelty scores. During this period Haydn and Mozart were highly influential but were later overtaken by Beethoven during the Classical-to-Romantic transitional period. The most innovative composer, indicated by the highest combined novelty score, was Rachmaninoff. His work during the Romantic era was novel when compared to the compositions of the other 18 composers included in the study, and his later works were novel compared to his earlier works. Lower novelty did not necessarily correlate with low influence. Beethoven was ranked in the lower half of novelty scores yet was the most influential composer during the Romantic period (1820 to 1910) and is widely considered one of the greatest composers of all time. Dr. Park said: “While novelty is necessary in a creative work it cannot account for all the creative and artistic qualities that go into creating melodies and harmonies that spread to later generations of composers. That may be why being more novel did not necessarily result in composers being more influential.” The authors suggest that their method could be applied to narrative or visual artworks by creating codewords from groups of words or colours and shapes. However, they caution that as only piano compositions were included in their analysis, it is unknown whether including all works by the 19 composers would have resulted in another composer being identified as the most original. Profile: Prof. Juyong Park, PhD firstname.lastname@example.org Graduate School of Culture Technology (CT) Korea Advanced Institute of Science and Technology (KAIST) https://www.kaist.ac.kr Daejeon 34141, Korea (END)
Image Analysis to Automatically Quantify Gender Bias in Movies
Many commercial films worldwide continue to express womanhood in a stereotypical manner, a recent study using image analysis showed. A KAIST research team developed a novel image analysis method for automatically quantifying the degree of gender bias in films. The ‘Bechdel Test’ has been the most representative and general method of evaluating gender bias in films. This test indicates the degree of gender bias in a film by measuring how active the presence of women is in a film. A film passes the Bechdel Test if the film (1) has at least two female characters, (2) who talk to each other, and (3) their conversation is not related to the male characters. However, the Bechdel Test has fundamental limitations regarding the accuracy and practicality of the evaluation. Firstly, the Bechdel Test requires considerable human resources, as it is performed subjectively by a person. More importantly, the Bechdel Test analyzes only a single aspect of the film, the dialogues between characters in the script, and provides only a dichotomous result of passing the test, neglecting the fact that a film is a visual art form reflecting multi-layered and complicated gender bias phenomena. It is also difficult to fully represent today’s various discourse on gender bias, which is much more diverse than in 1985 when the Bechdel Test was first presented. Inspired by these limitations, a KAIST research team led by Professor Byungjoo Lee from the Graduate School of Culture Technology proposed an advanced system that uses computer vision technology to automatically analyzes the visual information of each frame of the film. This allows the system to more accurately and practically evaluate the degree to which female and male characters are discriminatingly depicted in a film in quantitative terms, and further enables the revealing of gender bias that conventional analysis methods could not yet detect. Professor Lee and his researchers Ji Yoon Jang and Sangyoon Lee analyzed 40 films from Hollywood and South Korea released between 2017 and 2018. They downsampled the films from 24 to 3 frames per second, and used Microsoft’s Face API facial recognition technology and object detection technology YOLO9000 to verify the details of the characters and their surrounding objects in the scenes. Using the new system, the team computed eight quantitative indices that describe the representation of a particular gender in the films. They are: emotional diversity, spatial staticity, spatial occupancy, temporal occupancy, mean age, intellectual image, emphasis on appearance, and type and frequency of surrounding objects. Figure 1. System Diagram Figure 2. 40 Hollywood and Korean Films Analyzed in the Study According to the emotional diversity index, the depicted women were found to be more prone to expressing passive emotions, such as sadness, fear, and surprise. In contrast, male characters in the same films were more likely to demonstrate active emotions, such as anger and hatred. Figure 3. Difference in Emotional Diversity between Female and Male Characters The type and frequency of surrounding objects index revealed that female characters and automobiles were tracked together only 55.7 % as much as that of male characters, while they were more likely to appear with furniture and in a household, with 123.9% probability. In cases of temporal occupancy and mean age, female characters appeared less frequently in films than males at the rate of 56%, and were on average younger in 79.1% of the cases. These two indices were especially conspicuous in Korean films. Professor Lee said, “Our research confirmed that many commercial films depict women from a stereotypical perspective. I hope this result promotes public awareness of the importance of taking prudence when filmmakers create characters in films.” This study was supported by KAIST College of Liberal Arts and Convergence Science as part of the Venture Research Program for Master’s and PhD Students, and will be presented at the 22nd ACM Conference on Computer-Supported Cooperative Work and Social Computing (CSCW) on November 11 to be held in Austin, Texas. Publication: Ji Yoon Jang, Sangyoon Lee, and Byungjoo Lee. 2019. Quantification of Gender Representation Bias in Commercial Films based on Image Analysis. In Proceedings of the 22nd ACM Conference on Computer-Supported Cooperative Work and Social Computing (CSCW). ACM, New York, NY, USA, Article 198, 29 pages. https://doi.org/10.1145/3359300 Link to download the full-text paper: https://files.cargocollective.com/611692/cscw198-jangA--1-.pdf Profile: Prof. Byungjoo Lee, MD, PhD email@example.com http://kiml.org/ Assistant Professor Graduate School of Culture Technology (CT) Korea Advanced Institute of Science and Technology (KAIST) https://www.kaist.ac.kr Daejeon 34141, Korea Profile: Ji Yoon Jang, M.S. firstname.lastname@example.org Interactive Media Lab Graduate School of Culture Technology (CT) Korea Advanced Institute of Science and Technology (KAIST) https://www.kaist.ac.kr Daejeon 34141, Korea Profile: Sangyoon Lee, M.S. Candidate email@example.com Interactive Media Lab Graduate School of Culture Technology (CT) Korea Advanced Institute of Science and Technology (KAIST) https://www.kaist.ac.kr Daejeon 34141, Korea (END)
Professor Ji-Hyun Lee Awarded the Sasada Prize
Professor Ji-Hyun Lee from the Graduate School of Culture Technology was awarded the Sasada Prize during the 24th annual Conference of Computer-Aided Architectural Design Research in Asia (CAADRIA) held in Wellington, New Zealand on April 15. The Sasada Award honors the late Professor Tsuyoshi Sasada (1941-2005), the former Professor of Osaka University and co-founder and fellow of CAADRIA. It is given to an individual who has contributed to the next generation of researchers and academics, to the wider profession and practice in computer-aided design and research, and has earned recognition in the academic community. Professor Lee was recognized for her development of CAAD (Computer-Aided Architectural Design) through her research work on the land price precision system using case-based reasoning. Her research team proposed a model for estimating the average apartment price in an administrative district after collecting 40 variables from the six major Korean cities, excluding Seoul and Ulsan. Their follow-up studies showed the possibility of replacing existing experts’ predictions. Professor Lee has been steadily researching for 20 years on case-based reasoning (CBR), a field of artificial intelligence, and has published more than 40 papers in the field of CBR. Meanwhile, the CAAD Future 2019 event will be held at KAIST in June.
Professor Woontack Woo Demonstrates an Optical Platform Technology for Augmented Reality at Smart Cloud Show
Professor Woontack Woo of the Graduate School of Culture Technology at KAIST participated in the Smart Cloud Show, a technology exhibition, hosted by the university’s Augmented Human Research Center and presented the latest development of his research, an optical platform system for augmented reality. This event took place on September 16-17, 2015 at Grand Seoul Nine Tree Convention Center in Seoul. At the event, Professor Woo introduced a smart glass with an embedded augmented reality system, which permits remote collaboration between an avatar and the user’s hand. The previous remote collaboration was difficult for ordinary users to employ because of its two-dimensional screen and complicated virtual reality system. However, with the new technology, the camera attached to artificial reality (AR) glasses recognizes the user’s hand and tracks it down to collaborate. The avatar in the virtual space and the user’s hand interact in real space and time. The key to this technology is the stable, real-time hand-tracking technique that allows the detection of the hand’s locations and the recognition of finger movements even in situations of self-occlusion. Through this method, a user can touch and manipulate augmented contents as if they were real-life objects, thereby collaborating remotely with another user who is physically distant by linking his or her movements with an avatar. If this technology is adopted widely, it may bring some economic benefits such as increased productivity due to lower costs for mobility and reduction in social overhead costs from the decrease in the need of traveling long distance. Professor Woo said, “This technology will provide us with a greater opportunity for collaboration, not necessarily restricted to physical travelling, which can be widely used in the fields of medicine, education, entertainment, and tourism.” Professor Woo plans to present his research results on hand-movement tracking and detection at the 12th International Conference on Ubiquitous Robots and Ambient Intelligence (URAI 2015), to be held on October 28-30, 2015, at Kintex in Goyang, Korea. He will also present a research paper on remote collaboration at the ICAT-EGVE 2015 conference, the merger of the 25th International Conference on Artificial Reality and Telexistence (ICAT 2015) and the 20th Eurographics Symposium on Virtual Environments (EGVE 2015), which will take place on October 28-30, 2015 at the Kyoto International Community House, Kyoto, Japan.
Businessweek: How Twitter Could Unleash World Peace, April 11, 2011
A KAIST graduate scholar, Meeyoung Cha, conducted a joint study with international researchers and released a paper on the aspect of twitter as an emerging cyber arena for political and social debates and discussions. An article on the paper from Businessweek follows: Businessweek April 11, 2011, 9:08PM EST text size: TT How Twitter Could Unleash World Peace Researchers from Britain, Korea, and Germany have determined that the amount of fresh information you get on Twitter is less a matter of what you follow than whom—and who follows you By Bobbie Johnson On certain days, Twitter can feel like the world"s biggest, fastest echo chamber. Since we tend to follow people who are similar to us, we often see our own views reflected back—meaning a gloomy cloud of irritation can rapidly swirl into a cyclone of outrage as we hear from other people who feel as we do. A group of computer scientists have discovered that the opposite may also be true. Can Twitter be part of the solution, not merely part of the problem? In a study to be presented at a conference in July, a team of researchers from the U.K."s University of Cambridge, Korea"s Graduate School of cultural Technology-KAIST, and Germany"s Max Planck Institute for Software Systems show how Twitter can provide users greater access to more varied political viewpoints and media sources than they might otherwise get. The paper, called "The Media Landscape in Twitter(http://www.cl.cam.ac.uk/~jac22/out/twitter-diverse.pdf)," explains how the team made surprising discoveries when they looked into the site"s usage patterns. First they looked at who follows whom and discovered that Twitter is a highly politicized space. Then they examined patterns of tweeting and retweeting to try to understand how people receive information on Twitter—and what they might see. Their conclusion: Although Twitter is a pretty partisan space, it can offer unprecedented opportunities to break down the barriers that plague local, national, and international politics. How? Through retweets and interaction—what the authors call "indirect media exposure." As they put it, this "expands the political diversity of news to which users are exposed to a surprising extent, increasing the range by between 60 percent and 98 percent. These results are valuable because they have not been readily available to traditional media and they can help predict how we will read news and how publishers will interact with us in the future." If you"re interested in the way Twitter works, I recommend reading the paper, which isn"t very long. Meanwhile, let"s boil it down to a few key pieces of data and see what lessons they can teach. Most Twitter users are political. Just over half (50.8 percent) of all Twitter users studied showed a distinct political bias in the media outlets and individuals they followed. Most of those lean to the left of the political spectrum, accounting for 62 percent of users who demonstrated some bias. Thirty-seven percent were doggedly centrist. Just 1 percent of Twitter users who showed a political preference were right-wing. Here are a couple of caveats about reading too much into the sharp divide the authors found. Given that Twitter"s user base is younger and more metropolitan than the societal norm, it"s not surprising that it"s weighted to the left. It"s worth noting that this study was undertaken more than a year ago; since then, Twitter has grown dramatically, while global politics have largely skewed back toward the right. Twitter"s user base today might reflect a more-balanced political picture. Either way, there"s a big split. Twitter has secondary and tertiary benefits. Most organizations comprehend Twitter in simple terms: More followers means more exposure. But the study shows that it"s not just about those you follow, but those your followers follow—essentially the people in your extended network. The network offers a number of routes for information from fresh sources to get to you. According to the study, some 80 percent of users choose to follow at least 10 media sources, but they are exposed to between 6 and 10 times as many media sources through their friends. People outweigh brands. Many of the biggest Twitter accounts are big media brands such as CNN (TWX) and Time, but the study suggests that Twitter"s active users tend to prefer individuals over outlets. So while the average follower of @NYTimes (NYT) has six followers apiece, individual journalists have followers who boast a median following count of around 100. That gives individual journalists—who are, the study says, more likely to link to a multiplicity of sources—a much wider, more influential network of connections. The inference is that the personal touch of a journalist is more important than the lofty, impersonal tone of publications that largely act as promotion channels for their content. It"s a discovery that reminded me of Twitter"s recent blog post on the science of the hashtag, which found that hashtags explode in usage when they are picked up by individuals with the most dedicated—not necessarily the largest—followings. Active users access a wider range of views. The researchers say that indirect exposure expands political diversity by a "significant amount," despite other studies showing a tendency for social networks to do the opposite. "Other studies have found a stronger tendency of homophily; blogs of different political views rarely linked to each other," they point out. "One possible reason is that a Twitter network encompasses several different relationships—from shared interest, to familial ties, friends, and acquaintances—so political similarity doesn"t necessarily exist in all such ties." This is not to say that Twitter"s creators should be preparing a Nobel Prize-winning speech. Far from it: The influence of its diversity is unknown. It could be that many people who see messages they disagree with simply change their behavior to screen out such material in future. But it shows that there is a potential to do something positive at Twitter. It"s clear there"s much work to be done. The researchers say they want to investigate a number of areas they"ve uncovered, having provided important insights at a time when politics seem more fractious and divided than ever.
KAIST Animation 'Captain Banana' To Be Shown at SIGGRAPH Asia 2010
‘Captain Banana,’ a short animation created by researchers of Associate Professor Junyong Noh’s Visual Media Laboratory and current students of the Graduate School of Culture Technology (CT), will be shown at SIGGRAPH Asia 2010 this December 15th to 18th. Following last year’s screening of ‘Taming the Cat’ at the SIGGRAPH CG Animation Festival in the United States, Professor Noh’s work has been chosen to be shown at global CG animation festivals for two years in a row. Since the first exhibition by ACM in 1974, SIGGRAPH has become a global computer graphic festival that has a strong influence on the global CG and interactive technology industry. The Asian version of SIGGRAPH, SIGGRAPH Asia has been held annually at Singapore in 2008 and Yokohama, Japan in 2009. This year’s SIGGRAPH Asia will be held at COEX in Seoul from December 15th to 18th. ‘Captain Banana’ is a five minute film about Captain Banana, who explains recent issues over sex including unwanted pregnancies, the eradication of abortions and prevention of AIDS through a series of funny situations with his ten little friends. “Along with being chosen for screening at global CG animation festivals two years in a row, this year’s selection is significant in that the VM Lab has increased the efficiency of the creating process by using technology we have developed on our own,” said Professor Noh. The production period took approximate five months with approximately 20 current students of CT and five researchers of the Visual Media Lab.
A graduate-level education for working professionals in science programs and exhibitions will be available from mid-August this year.
The Graduate School of Culture Technology (GSCT), KAIST, has created a new course for professionals who purse their career in science programs and exhibitions, which will start on August 19 and continue through the end of November 2010. The course will be held at Digital Media City in Seoul. The course, also co-sponsored by National Science Museum, will offer students tuition-free opportunities to brush up their knowledge on the administration, policy, culture, technology, planning, contents development, and technology & design development, of science programs and exhibitions. Such subjects as science contents, interaction exhibitions, and utilization of new media will be studied and discussed during the course. Students will also have a class that is interactive, engaging, and visual, as well as provides hands-on learning activities. A total of 30 candidates will be chosen for the course. Eligible applicants are graduates with a B.S. degree in the relevant filed, science program designers and exhibitors, curators for science and engineering museums, and policy planners for public and private science development programs.
KAIST offers a new course on three-dimensional movies.
Registration for the class ends on February 18, 2010. The Graduate School of Culture Technology (GSCT) at KAIST created a special class entitled “Master Class for Three-Dimensional (3D) Film Production.” Applications for the class will be accepted by Thursday, February 18, 2010. The latest 3D movie, AVATAR, has become very popular upon its release in late 2009: An overwhelming visual and sensory experience provided by a 3D technology gave viewers real life feelings about a virtual reality built in the movie. People can almost reach out and touch an explosion, components of machines, and aliens appeared on the screen. “In response to growing interests in 3D movies, KAIST GSCT established a special session to teach students an overall process of 3D film production,” said Kwang-Yeon Won, Dean of GSTC. He also stressed that the 3D technology would serve as catalysts in developing the next generation of visual industry in the 21st century. “We have actively engaged in the development of 3D core technology and application contents. This class will be the first of our initiatives to launch a series of educational programs on 3D technology.” The class offers a complete road of 3D film production: an overview of stereography for 3D movies from planning, shooting, to post production. Many of film professionals (i.e., Director Yang-Hyun Choi and Shooting Director Byung-Il Kim), who are currently working in the field, will join the class so that students can have an opportunity to learn all ends of 3D film industry, both in terms of theoretical knowledge and practical work experience. The class is open to undergraduate/graduate students and to the public. For details, please refer to the website of http://ct.kaist.ac.kr/stereoclass2010 or call at 02-380-3698 (Industry-University Research Collaboration Center at KAIST Graduate School of Culture Technology).
Int'l Telematic Music Concert for Peace to Take Place on Nov. 20
Renowned musicians in five international locations perform new contemporary music works for peace through a real-time performance on the internet. Local audiences in Seoul, Banff, New York, San Diego and Belfast will also have a chance to hear a program. In Seoul, the "International Telematic Music Concert for Peace" will be held at the LeeHaeRang Art Theater, Dongguk University, in Seoul on Nov. 20 at 9:30 a.m., under the presentation of KAIST"s Graduate School of Culture Technology and MARTE Lab, Dongguk University. Telematic music is real-time performance via the internet by musicians in different geographic locations. The program of the concert includes "Hope"s Dream" by Mark Dresser and Sarah Weaver; "Disparate Bodies" by Pedro Rebelo, "Rock, Paper, Scissors" by Chris Chafe. The Korean act to be performed is "Green-colored Harmony" by Jun Kim. In addition to the two Korean universities, the World Association of Former United Nations Internes and Fellows (WAFUNIF), University of California San Diego, the Banff Center of Canada and Queen"s University in Belfast are participating in the project. The performance will take place on high-bandwidth internet with JackTrip audio software developed by Chris Chafe and Access Grid video software developed at Argonne National Laboratory. "Connecting the five different cities together through super-speed Internet network and transmitting sound and images in real time is challenging technically. But, we also expect that more exciting results will be created in the course of transforming the sound into visual images," said Woon-Seung Yeo, a professor of the Graduate School of Culture Technology, who was responsible for visuals in the project.
마지막 페이지 2
KAIST, 291 Daehak-ro, Yuseong-gu, Daejeon 34141, Republic of Korea
Copyright(C) 2020, Korea Advanced Institute of Science and Technology,
All Rights Reserved.