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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.
Prof. Lee Listed on Marquis Who's Who
Professor Lee Ji-hyun of the Graduate School of Culture Technology at KAIST was registered to Marquis Who"s Who, known as one of the world"s three leading biographical dictionaries. Prof. Lee"s biography was published in the 25th anniversary edition of "Marquis Who"s Who in the World 2008." Lee"s research interests are the color and culture, computer-supported collaborative design, creative design, evolutionary systems in design, formal models of design process, representation and reasoning in design and visualization for design information. Lee has published about 30 papers in science journals and for scholastic conferences. She is also a participating professor at KAIST Institute for Entertainment Engineering. Before joining KAIST in 2007, she was an assistant professor at the Department of Digital Media Design and Graduate School of Computational Design, the National Yunlin University of Science & Technology (NYUST) in Taiwan starting from 2002. She received her Ph.D. from the School of Architecture (Computational Design) at Carnegie Mellon University in 2002. She graduated from the Department of Housing & Interior Design at Yonsei University in Seoul in 1991 and received her M.S. from the same university in 1993.
Imaging technology expert from Hollywood becomes KAIST professor
Imaging technology expert from Hollywood becomes KAIST professor A U.S. imaging technology expert from Hollywood was appointed as KAIST professor. KAIST (President Nam-Pyo Suh) announced on September 18 that world-famous imaging technology expert Joonyong Noh, who deals with special effects at Hollywood, was appointed as assistant professor of Graduate School of Culture Technology. Professor Noh obtained Ph.D in Computer Science from the University of Southern California and has been working at Rhythm & Hues, one of the world top three independent productions. He has developed special effects of 23 pieces of Hollywood films for the past three years and took charge of special effects of movies ‘Garfield’, ‘The Lord of The Rings: The Return of The King’, etc. which were released worldwide. His recent work is the film ‘Superman Returns’. In this film, Professor Noh skillfully expressed a scene of superman flying into a ship with virtual reality using simulation. Professor Noh also has shown great achievements in the fields of face animation, algorithm-based scenery generation, non-rigid body and fluid dynamics simulation. “I’ve performed various imaging works with advanced science and technology and arts combined in them at Hollywood. Based on such experiences, I will develop advanced imaging technologies along with KAIST students,” Professor Noh remarked his intention.
KAIST Cultural Festival - the 2nd rocklassic
KAIST Cultural Festival - the 2nd rocklassic - Unique music festival by KAIST students mixed with creation, performance, and science - Result of creative classes - All activities from performance planning to strings manufacturing will be carried out by students themselves - At the outdoor theater in KAIST, 7:30 p.m. Sunday, September 10 Crossover music festival pursuing balanced mixture of Rock and Classic will be held by KAIST students. KAIST (President Nam-Pyo Suh) will open ‘KAIST Cultural Festival - the 2nd rocKlassic’ at the outdoor theater, 7:30 p.m. Sunday, September 10. This performance can be considered as a new attempt that provides opportunities of experiencing the vital topic of industry in the 21st century - fusion of culture and technology. Performance planning, arrangement, and playing are all carried out by students themselves, and musical instruments manufactured by students during classes will be used for the performance. This performance is the result of creative classes such as chamber music, strings manufacturing, performance planning, and business management, which have been newly attempted in KAIST since 2002. In the performance subtitled as ‘Einstein’s Violin’, KAIST-graduated bandoneonist Sangji Ko will play the bandoneon (musical instrument which is composed of rectangular side faces and wrinkled box, and played by pushing buttons) as a special guest, and total 40 players including members of KAIST student music club ‘Adlib’, ‘KAIST orchestra’, and ‘MUSIKA’, which is making active performances outside KAIST, will attend to make the concert the biggest music project of KAIST. General director Jeongjin Kim (Professor of KAIST Graduate School of Culture and Technology) said, “In order to enjoy the concert with neighborhood, the outdoor theater capable of 3,000 people will be fully opened, and there is no charge for it. I am sure the passion and talent toward music emitting from KAIST students will startle the audience.” ■ Program <1st stage> - The song of life - Adlib, KAIST orchestra - Flying - Adlib, KAIST orchestra - From between calm and passion - Chulho Kim, KAIST orchestra - Propose - Yeoseotjul - As my wish - Yeoseotjul, Adlib - I lay my love on you - Yeoseotjul - Rachmaninov/ Rhapsody on Theme of Paganini Op. 43: Var. 18 Piano - Chulho Kim, KAIST orchestra - Chaser - Adlib - Walk this way - Adlib - Girl’s period - Adlib - Sweep away - Adlib, KAIST orchestra <2nd stage> - Beethoven Virus - Adlib, KAIST orchestra - Simple symphony - KAIST orchestra - Cinema paradiso - KAIST orchestra - Piano trio by Mendelssohn - Daehyun Wie (Piano), Wontae Song (Violin), Hongje Chang (Cello) - Tango Pugata - Sangji Ko (Bandoneonist), etc. - Vuelvo al sur - Youngsan Lee, etc. - La Cumparsita - Sangji Ko, etc. - Libertango - Sangji Ko, etc. - Dramatic Funk - Wontae Song, Adlib - Cavalleria rusticana intermezzo - Sangji Ko, KAIST orchestra - Hurricane 2000 - Adlib, KAIST orchestra, Yeoseotjul
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