Abstract We demonstrate convenient alignment technologies using imprinting lithography with sol-gel process. The aligned nano pattern is fabricated on a silicon wafer by laser interference lithography. For conformal imprinting process, aligned nano pattern was transferred onto the polydimethylsiloxane (PDMS). Using a PDMS sheet with aligned nano pattern, aligned nano pattern was created onto the sol-gel driven hafnium zinc oxide by imprinting lithography. The process was conducted at annealing temperatures of 150 °C. The obtained pattern on the HfZnO film acted as a guide for aligning liquid crystal (LC) molecules. The geometric restriction induced by aligned pattern leads to LC alignment along to the aligned nano pattern. The combination of imprint lithography and solution-processed inorganic materials proved good alternative of LC alignment technique.

This paper presents a log-transformed model-based performance analysis system for analyzing and improving manufacturing performance of the smart factory in the display business. Two years of data related to traditional manufacturing performance such as Cycle-time, WIP(Work-In-Process), and Throughput were investigated from the smart factory that producing the display for this research. We assessed manufacturing competitiveness based on how the operational level of automation affects improvements in manufacturing performances. We analyzed functional relationships between the indicators were derived using logtransformed regression analysis how the manufacturing performance indicators change according to the operational level of smart factory automation. As a result, we knew that the 170K production, which was planned capacity in the line design phase, achieved by running an automation level of only 59%. Based on this research, we suggest building an autopoietic optimize performance model to improving manufacturing competitiveness of smart manufacturing.

본 연구는 멀미증상이 동공 리듬에 미치는 영향을 확인하는 것을 그 목적으로 하였다. 본 연구는 2D와 HMD를 통해 동일한 가상현실 콘텐츠를 실험참가자에게 15분 동안 경험하게 한 이후에 동공반응을 비교하였고 본 실험에는 16명(남자 8명, 여자 8명, 평균 나이: 25.67 ± 2.43세)의 피험자가 참여하였다. 연구 결과, 영상멀미를 경험한 이후에 동공 리듬이 불규칙한 패턴을 나타내었고 이것은 동공 크기(mPD) 및 동공 리듬의 편차(sPD)가 증가하는 결과로 확인되었다. 이러한 동공 반응의 결과는 인지부하와 밀접한 관련이 있고 영상멀미를 처리해야 할 시각 정보량의 증가 및 감각정보들 사이의 충돌 혹은 불일치로 인한 인지부하 현상으로 해석이 가능하다. 본 연구에서 제안된 방법은 기존의 센서 기반의 평가 방법에 비해 멀미 증상을 카메라 기반의 비접촉식으로 측정할 수 있는 가능성을 확인하였다.

본 연구에서는 피식자의 flash display와 크기에 따른 생존율을 확인하였다. Flash display는 생물체가 가지는 방어 기작 중의 하나로, 피식자가 포식자로부터 도망을 갈 때, 예를 들어, 개구리 다리 안쪽의 색이 몸 색과 다른 경우나, 속날개의 색이 겉날개의 색과 다른 경우(ex. 뒷날개나방) 포식자에게 시각적으로 큰 혼란을 주어 생존율을 높이는 방어 기작 이다. 이를 연구하기 위해 visual studio enterprise 6.0프로그램으로 피식자의 크기와 색을 변경 가능 하게한 시뮬레이션을 만든 후 사람을 포식자로 설정하여 일반인 총 120명, 연령대는 10~50대 중 후반을 대상으로 실험 하였다. 실험 결과로 flash display를 사용하는 피식자의 생존율이 그렇지 않은 피식자 보다 높을 것으로 예상 하였고, 크기는 작을수록 더욱 유리 할 것으로 예측 하였다. 조사 결과 피식자의 크기와 색이 생존율과 상관관계에 있다는 것과 flash display 효과가 피식자의 생존율을 더욱 높여주었음을 발견하였다. 또한 flash display의 색이 주변 환경(이번 실험에서는 녹색 계통의 풀숲을 사용하였다.)과 확실하게 다른 색(녹색 계통의 색이 아닌 색)을 띄는 개체의 생존율이 flash display를 사용하지 않은 개체 보다 월등히 높았음을 확인하였다. 이는 Flash display가 피식자의 생존율을 높이는 요인이라는 것을 시사하고 있다.

Modern luxury research draws upon the concept of conspicuous consumption, the act of publicly displaying luxury goods as a means of showing-off one’s wealth (Veblen, 1899). Millennials are considered to be the next generation of luxury consumers. Instagram being a highly visual social media platform creates an environment that is fit for setting the scene by displaying wealth. This study explores millennials’ display of experiential luxury through personal branding strategies on visual social media, looking at the case of ‘Millionaires’ of Instagram. We collected data through an anonymously curated platform on Instagram called “Rich Kids of Instagram”. We carried out a visual content analysis and a netnography. Findings revealed two main aspects of the personal branding strategies (Peters, 1997) adopted by wealthy micro-celebrities. First, the restrained use and lack of display of conspicuous luxury branded products. Second, an emphasis on experiential luxury through the use of geo-tags. These findings carry theoretical implications. Contrary to more ‘traditional’ luxury consumption theories (Veblen 1899), findings showed that wealthy millennials put an emphasis on more unconventional and immaterial - rather than material - aspects of their luxury consumption. The experiential nature of luxury consumption was exemplified by the almost systematic use of geo-tags. Followers seemed to be especially motivated by this aspect of the luxury consumption experience, which can be seen as a truer, more authentic, form of consumption experience. This study also contributes to the understanding of how millennials conceive luxury consumption in a broader sense. Experiential luxury, rather than luxury products (Hemetsberger, von Wallpach, and Bauer 2012), appears to be the main focus of luxury consumption for this new generation of luxury consumers.

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey’s six display factors. Projection features and movements were categorized into “Direct movements,” “Indirect movements,” and “Relative movements.” Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users’ motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

최근 전체산업에서 차지하는 서비스분야의 비중이 높아짐에 따라 자신이 실제 느끼는 감정과는 다른 표현을 하며 일해야 하는 감정노동자들의 고충이 사회적 이슈로 부각되고 있다. 이러한 감정노동자들은 고객들에게 심한 모욕과 비인격적인 대우를 받아도 조직이 정한 감정규칙을 준수하여 항상 친절한 응대 와 태도를 유지하도록 요구받고 있다. 이로 인해 감정노동자들은 심한 심리적 불안과 스트레스에 직면하고 있으며 이는 각종 질환에 노출되게 한다. 이러한 상황에서 감정노동자들의 직무불만족으로 인해 이직률이 증가하고 있는 실정이다. 이에 본 연구에서는 서비스 종사원의 감정노동전략을 표면행동과 내면행동으로 구분하여 감정부조화에 미치는 영향을 살펴보고, 감정부조화가 직무불만족에 미치는 영향과 직무 불만족이 파괴적인 반응행동인 태만행동과 이탈행동에 미치는 영향을 살펴보고자 한다. 또한 감정표현규칙 몰입이 감정노동과 감정부조화의 관계를 어떻게 조절하는지를 살펴보고자 한다. 이를 위해 서비스업에 종사하는 감정노동자들을 대상으로 설문조사를 실시하였으며 총 380부의 설문지가 배포되었고, 불성실한 응답을 제외한 377부의 설문지가 분석에 활용되었다. 실증분석 결과는 다음과 같다. 첫째, 표면행동은 감정부조화에 정(+)의 유의적인 영향을 미치고 내면행동은 감정부조화에 부(-)의 유의적인 영향을 미치는 것으로 나타났다. 둘째, 감정부조화는 직무불만족에 정(+)의 유의적인 영향을 미치며 셋째, 직무불만족은 태만행동과 이탈행동에 모두 정(+)의 유의적인 영향을 미치는 것으로 나타났다. 넷째, 감정노동이 감정부조화와 직무불만족을 이중매개로 태만행동과 이탈행동에 영향을 미치고 있음이 확인되었다. 마지막으로, 감정표현규칙 몰입이 높을수록 내면행동은 감정부조화에 미치는 효과가 유의하게 나타났으나 표면행동은 유의하게 나타나지 않아 감정표현규칙 몰입의 조절효과가 일부만 확인되었다. 이러한 연구결과를 토대로 이론적 및 실무적 시사점과 향후과제를 제시하였다.

디스플레이의 화질은 중요한 성능 지표이며, 균일도는 화질을 결정하는 주요 요소들 중의 하나이다. LED 매트릭 스 디스플레이 같이 화소마다 휘도 및 색역이 다른 경우, 디스플레이 휘도 및 컬러 균일도 개선을 위한 보정 작업이 수행되어야 한다. 적용의 편리성 때문에 대부분의 경우에 균일도 보정 방법은 모든 화소의 휘도 및 색역 중 가장 낮은 값 으로 보정을 수행하는 방식으로 진행되어왔다. 하지만, 이와 같은 방법은 균일도 보정 후 디스플레이의 휘도 및 색역이 너무 많이 감소하는 단점을 갖는다. 휘도 및 색역 감소량을 최소화하는 방법의 대안은 디스플레이가 균일하게 인지되는 범위를 도출한 후, 해당 범위 내에서 휘도 및 색역이 최대가 되는 값을 기준으로 디스플레이를 보정하는 것이다. 본 논 문에서는 이와 같은 디스플레이 균일도 보정 범위를 도출하는 방법을 제안한다. 제안하는 방법은 시각 실험을 통하여 화소간 휘도 및 색의 차이가 사람의 눈에 상이하게 인지되는 기준을 도출하고, 실험 결과를 사용하여 디스플레이 균일 도 보정 범위를 정량화 한다. 제안하는 방법의 성능은 시각 실험을 통하여 검증된다. 실험을 통해 제안하는 방법이 90% 이상의 높은 정확도로 균일도 보정 범위를 정확하게 도출하는 것을 확인할 수 있었다.

In recent years, the interactive systems with large display have been on the rise, and research on these systems is increasing. While prior research has explored various interaction techniques and input devices developed for large display, it focused on interaction devices used at specific distances from the display. This research introduces a multi-scale user interaction approach that utilizes a multi-touch screen, freehand gestures and mobile interfaces to help users seamlessly interact with the interactive system regardless of their distance from the display. An experiment was conducted to evaluate how users adopted the multi-scale user interaction to more effectively perform various user interaction tasks. The result showed that the multi-scale user interaction helped users improve their overall task performance. It also found that users tended to utilize different multi-scale user interfaces to complete different kinds of tasks.

In this paper, we propose English word display interfaces to improve short-term memory: a basic display, a rotation change display, a size change display, and a color change display. Using these display interfaces, we apply the word recall memory test to users. Experimental results show that the users recall more English words in the rotation change display and the color change display, as compared with the basic display and the size change display. Also, the users think that the rotation change display and the color change display are more helpful for short-term memory than the basic display and the size change display. It describes that the word display interface can have an influence on short term memory.

Mobile shoppers have encountered frequent color mismatch in the products that they have purchased, as they can only rely on their sense of sight. Therefore, fabric color and color difference recognized by smartphone display during mobile shopping were studied using instrument analysis method. It aimed to gather precise information on actual fabric color understanding of the mobile shoppers purchasing textile products. Three smartphones were selected from LG, Samsung, and Apple companies, and four colors were researched (red, yellow, green and blue) to both polyester and wool test fabrics for color analysis though color measuring instruments. The results from the spectrophotometer indicated that the color coordinate location of smartphone fabric color is similarly distributed regardless of the type of fabric. The Samsung smartphone displays a relatively high color chroma (especially on red-colored fabric) regardless of the type of fabric due to a high color reproduction range. In contrast, the LG smartphone, which has high color temperature, displays high color chroma on the blue colored fabric with a significant color mismatch between the actual fabric color and smartphone fabric color. From the results of this study, issues related to mobile shopping can be addressed through an analysis of the products sold, the smartphone’s color representation, and user understanding.

Mobile shoppers have encountered frequent color mismatch in the products that they have purchased, as they can only rely on their sense of sight. Therefore, fabric color and color difference recognized by smartphone display during mobile shopping were studied using instrument analysis method. It aimed to gather precise information on actual fabric color understanding of the mobile shoppers purchasing textile products. Three smartphones were selected from LG, Samsung, and Apple companies, and four colors were researched (red, yellow, green and blue) to both polyester and wool test fabrics for color analysis though color measuring instruments. The results from the spectrophotometer indicated that the color coordinate location of smartphone fabric color is similarly distributed regardless of the type of fabric. The Samsung smartphone displays a relatively high color chroma (especially on red-colored fabric) regardless of the type of fabric due to a high color reproduction range. In contrast, the LG smartphone, which has high color temperature, displays high color chroma on the blue colored fabric with a significant color mismatch between the actual fabric color and smartphone fabric color. From the results of this study, issues related to mobile shopping can be addressed through an analysis of the products sold, the smartphone’s color representation, and user understanding.

This paper attempts to bring the rather dated concept of Cultural Capital (CC) from the sociology literature to luxury retailing; it argues that Visual Merchandise Display (VMD) can enhance the consumers’ intentions to purchase luxury brands but this influence is stronger for consumers with higher CC than for those with lower CC. In particular, we develop a psychometric scale to measure CC and empirically and quantitatively investigate in two experiments the impact of VMD on consumer purchase intentions and the moderating role of CC. Walking first into TK Maxx and then into Harvey Nichols, one could assume that brand perceptions are affected not by the merchandise but rather by the store environment and particularly the way in which the products are visually presented to the consumers. In 2013, Karen Miller announced a substantial remodelling of its stores, including a change in their look to communicate ‘affordable luxury’ (Felsted, 2013). Although the luxury marketers seem to understand the importance of the display in influencing consumer perceptions, academics yet admit to knowing very little about the role of visual merchandising and display on the mechanisms of luxury brand consumption (Joy, Wang, Chan, Sherry, & Cui, 2014). Emerging research in the luxury retailing literature focuses on and explores qualitatively the role of ‘museological’ product presentation techniques in building and sustaining a luxury brand image (Dion & Arnould, 2011; Joy et al., 2014). However, till now, it has not considered that people can differ in their ability (i.e., ‘connoisseurship’) to decode and appreciate such display techniques, which often require substantial investment in fixtures, expensive materials, or complicated designs or architecture. This paper argues that the success of many newly introduced marketing communication techniques, including the tendency of contemporary branding to ‘subtly’ communicate the understated cleverness of a brand, can be subject to the consumers’ level of CC. CC refers to human culture and constitutes an individual characteristic that encompasses consumer’s intangible cultural assets and resources, such as knowledge, personality traits, and values, which manifest via consumers’ lifestyle choices and affect the way they think and act (Bourdieu, 1984; Blackwell, Miniard, & Engel, 2001). We argue that in luxury retailing, where ‘brand museums’ (Hollenbeck, 2008), ‘museological’ product presentation techniques or simply ‘museum like displays’ (Joy et al., 2014) and collaboration with contemporary artists and creative directors (Dion and Arnould, 2011) have been pointed out as new formats of in-store communication, CC can play a crucial role in explaining whether and how much consumers’ purchases can be actually affected. The marketing literature, to date, however, misses a contemporary continuous measure to assess consumers’ CC. In their effort to avoid limitations embedded in prior conceptualisations of CC— which mostly concern its supposed static and inherited nature (McQuarrie, Miller, & Phillips, 2013) —, many studies of consumer behaviour tend to assess CC qualitatively and set criteria to dichotomise a sample into two groups who are somewhat arbitrarily classified as people with either high or low CC; or, they only approximate CC by assessing the participants’ knowledge in a specific field of consumption, which is often a crude proxy for CC and pre-supposes the consumers’ interest-involvement in the investigated field of consumption (McQuarrie et al., 2013). For example, the literature on luxury brands tends to replace CC with fashion knowledge (e.g., Berger & Ward, 2010). Nevertheless, the researchers recognise this replacement as a limitation of their studies and a poor operationalisation of the concept of CC (Berger & Ward, 2010). The present research has three objectives. First, rather than dichotomising people into high and low CC groups, it acknowledges CC as a continuous variable and develops a contemporary psychometric scale to measure the extent to which people within the same culture differ in it. Second, it aims to provide a conceptual framework for understanding a set of mechanisms that explain how consumers’ purchase intentions for a luxury brand can be affected by specific VMD cues which are used for displaying it. Last and more importantly, we want to validate the newly introduced scale in a final experiment that tests whether the process whereby VMD indirectly increases the purchase intentions for luxury brands, depends positively on the consumer’s CC. The first study, which incorporates a qualitative inquiry as well as a purification and a validation study and uses multiple samples, succeeds in developing and validating a psychometric CC scale. In the second study, by conducting an experiment, we develop a model which explains how a combination of specific high-image VMD cues that form a museum-like display affects the consumers’ luxury brand purchase intentions by increasing consumers’ perceptions of luxury and by decreasing their perceived personal risk. This study’s model is, then, re-estimated in the final study after introducing into it the measure of CC. In this experiment, the strength of the basic relationships was found to be contingent on CC, suggesting that consumers with higher CC tend to be more strongly influenced by the store environment cues. Although we recognise that for many consumer behaviour studies in the marketing literature, consumers’ knowledge in fashion represents sufficiently well the concept of CC (e.g., Berger & Ward, 2010; McQuarrie et al., 2013; Parmentier, Fischer, & Reuber, 2013), we show that this might not be the case in the context of store atmospherics. In particular, we test the influence of both CC and fashion knowledge by introducing them together into the same model. Interestingly, CC is found to behave differently and to some extent oppositely to fashion knowledge in influencing consumers’ store-induced perceptions and purchase intentions for the luxury brand on display. The identification of specific VMD cues that form what the luxury retailing literature rather vaguely describes as a ‘museological presentation’ and the measurement of their combined effect as a ‘museum-like display’ on the consumer’s perceptions and behavioural intentions can have important implications for both the offline and online retailers. Our findings can also inform the contemporary brand communication methods, such as the brand’s representation in social media (e.g., in pinterest). Moreover, the measurement of consumer’s level of CC can allow brand managers and retailers to identify receptive segments and make more efficient resource commitments to VMD. Investment in VMD elements can then be better matched to the anticipated target market to avoid either over- or under spending on it. Sales forecasts can also become more accurate if CC could be assessed and considered along with the employed in-store and digital product presentation methods.

In this paper, we developed 3D games which use lip-motion input device and displayed it on a non-glass 3D display using integral video method. The games called Jenga and Cubes are developed by using unity3D. Potential immersion and usability of games displayed by integral video method is experimentally tested. Experiment participants played the test games and are surveyed to measure immersion and potential usability. In this survey, the immersion scored 3.83 out of 5 in average, and we confirmed relatively higher satisfaction than 2D display. Positive results on implementation of non-glass 3D display on game contents are obtained from the experiment and survey.

투과와 반사 타입의 네 가지 홀로그램을 동일한 공간에서 촬영할 수 있는 하이브리드 기록 시스템에 대해 연구하였다. 하이브리드 기록 시스템은 빔 스프린트와 스페셜 필터, 셔터를 적재적소에 설치해 간섭무늬를 만드는 빛 의 경로를 변화시켜 홀로그램을 촬영할 수 있게 했다. 기록 시스템은 노광 공간을 최소화 하였고 홀로그램 카메라로 적용할 수 있게 했다. 프레넬 홀로그램은 오브젝트를 좌우 방향에서 조명하여 고효율의 입체 영상이 표시되게 제작했 다. 리프만 홀로그램은 프레넬 홀로그램에서 공액으로 재생 된 실상을 이용하여 촬영했다. 데니슈크 홀로그램은 기록 재료의 뒷면에 오브젝트를 설치하여 노광했다. 기록재료는 빔 스프린터의 역할을 했다. 하이브리드 기록 시스템은 네 가지 홀로그램을 독립적이고 유기적으로 제작하기에 적합하였다. 한 대의 레이저로 구성 된 하이브리드 기록 시스템 에 의해 안정적으로 프레넬 홀로그램, 리프만 홀로그램, 데니슈크 홀로그램을 제작하기에 적합하였다. 하이브리드 기 록 시스템을 도입하여 투과와 반사 타입의 홀로그램을 제작 할 수 있었고 홀로그램 카메라로 실현 가능하다는 것을 확인하였다.

경운기 시뮬레이터 운전자가 가상환경에서 교육에 몰입할 수 있도록 현실세계에 가상 물체를 겹쳐 보 여주는 증강 현실 기술을 구현하였다. 3D 카메라 입력 장치로부터 초당 30 frame 이상 속도로 경운기 모의 운전 장치의 영상을 획득한다. 획득된 현실 영상을 크로마키 처리하여 가상 현실과 결합하였다. RGB 영상의 HSI 변환 실험결과 색상 최대값 0.52, 최소값 0.153, 채도 최대값 0.57, 최소값 0.16, 명 도 최대값 1, 최소값 0.12이 크로마키 처리를 위해 최적값이었다. 본 연구에서는 키패드를 이용하여 크 로마키 처리된 현실 영상의 위치를 전·후·상·하·좌·우를 버튼으로 조정하여 초기 결합위치를 조정 할 수 있고 최종 조정된 값은 저장하여 유지 관리되도록 하였다. 이를 토대로 초당 30프레임 이상의 속 도로 가상현실과 크로마키 처리 영상을 결합한 증강현실 구현이 가능함을 보였다.

MTO (Make to Order) is a manufacturing process in which manufacturing starts only after a customer’s order is received. Manufacturing after receiving customer’s orders means to start a pull-type supply chain operation because manufacturing is performed when demand is confirmed, i.e. being pulled by demand (The opposite business model is to manufacture products for stock MTS (Make to Stock), which is push-type production). There are also BTO (Build to Order) and ATO (Assemble To Order) in which assembly starts according to demand. Lean manufacturing by MTO is very efficient system. Nevertheless, the process industry, generally, which has a high fixed cost burden due to large-scale investment is suitable for mass production of small pieces or ‘mass customization’ defined recently. The process industry produces large quantities at one time because of the lack of manufacturing flexibility due to long time for model change or job change, and high loss during line-down (shutdown). As a result, it has a lot of inventory and costs are increased. In order to reduce the cost due to the characteristics of the process industry, which has a high fixed cost per hour, it operates a stock production system in which it is made and sold regardless of the order of the customer. Therefore, in a business environment where the external environment changes greatly, the inventory is not sold and it becomes obsolete. As a result, the company’s costs increase, profits fall, and it make more difficult to survive in the competition.Based on the customer’s order, we have built a new method for order system to meet the characteristics of the process industry by producing it as a high-profitable model. The design elements are designed by deriving the functions to satisfy the Y by collecting the internal and external VOC (voice of customer), and the design elements are verified through the conversion function. And the Y is satisfied through the pilot test verified and supplemented. By operating this make to order system, we have reduced bad inventories, lowered costs, and improved lead time in terms of delivery competitiveness. Make to order system in the process industry is effective for the display glass industry, for example, B and C groups which are non-flagship models, have confirmed that the line is down when there is no order, and A group which is flagship model, have confirmed stock production when there is no order.