• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.701-715
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• 2021

The drastic advance of recent deep learning technologies is heavily dependent on training datasets which are essential to train models by themselves with less human efforts. In comparison with the work to design deep learning models, preparing datasets is a long haul; at the moment, in the domain of vision intelligent, datasets are still being made by handwork requiring a lot of time and efforts, where workers need to directly make labels on each image usually with GUI-based labeling tools. In this paper, we overview the current status of vision datasets focusing on what datasets are being shared and how they are prepared with various labeling tools. Particularly, in order to relieve the repetitive and tiring labeling work, we present an interactive smart image annotating system with which the annotation work can be transformed from the direct human-only manual labeling to a correction-after-checking by means of a support of automatic labeling. In an experiment, we show that automatic labeling can greatly improve the productivity of datasets especially reducing time and efforts to specify regions of objects found in images. Finally, we discuss critical issues that we faced in the experiment to our annotation system and describe future work to raise the productivity of image datasets creation for accelerating AI technology.

• (The) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.60-76
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• 2020

The purpose of this study was to examine the spatial and visual arrangement characteristics of Imsil Yi Ung-jae's old house's spatial and visual aspects in order to discover the value of landscape and traditional house garden. The results of this study are as follows. Dongchon-village in Dundeok-ri, where old house is located, is a typical form of with "Back to the mountain and facing the water(背山臨水)", and is located in the north of the three streams of water, forming a Jeonchaghugwan(前窄後寬). Dongchon Village, which has a traditional scenic spot between Danguidae(丹丘臺) and Samgyeseokmun(三溪石門), is understood to be the main street of Nojeokbong Peak and Gyegwanbong Peak, which is Ansan(案山), where the "A centipede flying in the sky(飛天蜈蚣形)". Yi Ung-jae's old house is the oldest existing high-priced house in the North Jeolla region and the closing price of a royal family of the Joseon Dynasty, which was arranged by Chunseongjeong(春城正), Yi Dam-son(李聃孫) in the mid-16C. The Japanese Invasion of Korea in 1592 and Japanese colonial era, the loyalty of the gate quarters, the filial piety of the gate quarters, and the faithfulness of the tablet(扁額) and Juryeons(柱聯) are enough to contribute to the rise of the value of a physical house. The men's quarters(Sarangchae), which are placed on a high-pocket or a layout without going against the sloping terrain, have the effect of making the distance as far as possible, enhancing its dignity and hierarchy as a royal building. In addition, the entrance to the main quarters(Anchae) through the four pillar gates(四柱門), the extensive support and the appropriation of the Chaewon(vegetable garden), and the official base for the Anchae are very unique compared to the general nobility. However, in the context of the postwar relationship, the shrine seeks to realize Confucian ideals while harmonizing with nature by arranging wide sponsorships around it. On the other hand, it is confirmed that there was a pond in the form of a circle in a square(方池圓島型) with a relatively large area, which is now disturbed and damaged. Written by the high priced planting species are sponsored pine trees, hackberry, persimmon trees, Japanese apricot flower, Ohmomiji, and plum tree in the side garden, as well as cotyledon trees in the outside garden. However, although flower bed(花階), which is built on the stone axis, is a place that clearly shows the expensive garden, it seems to have lost the texture of the plant due to the extremely high variety of species and the splendor that does not match the plant landscape of the flower world. Yi Ung-jae's old house is highly valuable as it is a portrait house of a prince of the blood in the mid-Joseon Dynasty. Based on these findings, this study proposed a plan to improve the management of high prices that could be met.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• Korea and Global Affairs
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• v.1 no.2
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• pp.5-32
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• 2017

5.18 Gwangju Democratization Movement was approved as a legal democratization movement by president Kim Young Sam in May 1993 and was approved as a global recording inheritance by UNESCO in May 2011 for the honor of Gwangju citizens to be restored. However, assessment on this until today after 35 years of occurrence is not nationally unified and the mind of Gwangju maybe only remembered as pride by Gwangju. There are several factors of this continuing situation but this researcher thinks the biggest factor is that professionals reanalyzing the truth ascertainment fitting spirit of the times who are in charge of citizen education are intensively distributed in Jeolla-do and Seoul. Moreover, the journal unlikely assessing 5.18 have enemies in the assailant area during activity that unity is not taking place with divided assessments and trapped in Honam. This study judges that the reason the meaning of 5.18 is trapped in Honam and not nationally unified is because of the limit of "adversary system." Especially researchers who should analyze and explain this incident in a objective views are bias distributed (Gwangju Jeolla-do> Seoul>Gyeongnam) in hometown areas that the possibility of 5.18 meaning not being unified was focused. Academic research studies, journal writers, and publication locations are divided in this study to reveal they are bias distributed and reveal that there is possibility that this biased distribution of researches are becoming obstacles in overcoming regionality.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.302-315
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• 2020

The issue concerning how to integrate with the needs of sustainable development according to Crime Prevention Through Environmental Design(CPTED) theory still continues in the development process of the third-generation theory at the present stage. In addition, the issue is under worldwide controversy and discussion. What is more noteworthy is that the viewpoints under debate and discussion have an influence on the mutual effect and relationship between the theoretical model and the principles in the theoretical model, and the influence can never be underestimated. After a mastery of the overall context of theoretical development, it is believed in this study that the identity of CPTED theory development can provide a diverse understanding dimension and a communication method between the environment and environmental users. On the basis of identity the development of CPTED theory, the crime prevention design mode of CPTED needs to connect different dimensions of sustainability, with the design goal of livability as the starting point, the Top-down model to adjust the safety of the environment. By no means can the environmental condition be improved by solely relying on the previous physical design method in virtue of Bottom-up model. Therefore, in this study, the identity of CPTED will be set as the core combined with Top-down crime prevention design model to propose a visual proposal for the reconstitution of the theoretical model, rather than supplementing the application of the contents or principles at a certain stage. Hence, it is expected to provide reference and enlightenment for the sustainable development of CPTED theory.

• Convergence Security Journal
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• v.11 no.2
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• pp.65-77
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• 2011

In Western Europo and the US, there has been a general trend over 30 years of reducing the amount of force by the police, through a paradigm shift from 'Escalated Force Model' towards 'Negotiated Management Model'. In tune with this trend, for example, the Swedish Police have implemented the uniformed 'Dialogue Police' system, in order to establish communication contact with demonstrators, before, during, and after their events, The Negotiated Management Model involves a greater respect for the rights of protesters, a more tolerant approach to community, and improved intelligence, communication, and flexibility, in order to facilitate lawful protests and to reduce the possibility of an escalation of major public disorder. The Korean National Police (KNP) appears to be operated within this negotiated management framework, since in preparation for the G20 Seoul Summit, they have also emphasized good communication between the police and protest groups, by newly creating the concept of 'Protest Policing Through Facilitation of Lawful Protests'. In this context, this study first attempts to analyze not only the negotiated management model, but also the Swedish dialogue police. Secondly, the study conducts a comparative study between the KNP's Protest Policing Through Facilitation of Lawful Protest and the Swedish dialogue police system, particularly, in conjunction with the negotiated management. Although Korean and western police have different system and history, protest policing model is now approaching with each other through a link between conflict resolution techniques, such as dialogue, negotiation, mediation and facilitation. Finally, the study is to prove if the KNP's protest policing model corresponds with the negotiated management model, and further to suggest new 'Facilitation of Conflict Resolution Model' as a desirable future of the KNP's protest policing.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.11
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• pp.744-749
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• 2018

Informatization and visualization technology for real space is a key technology for construction of geospatial information. Three-dimensional (3D) modeling is a method of constructing geospatial information from data measured by various methods. The 3D laser scanner has been mainly used as a method for acquiring digital elevation data. On the other hand, the unmanned aerial vehicle (UAV), which has been attracting attention as a promising technology of the fourth industrial revolution, has been evaluated as a technology for obtaining fast geospatial information, and various studies are being carried out. However, there is a lack of evaluation on the quantitative work efficiency and data accuracy of the data construction technology for 3D geospatial modeling. In this study, various analyses were carried out on the characteristics, work processes, and accuracy of point cloud data acquired by a 3D laser scanner and an unmanned aerial vehicle. The 3D laser scanner and UAV were used to generate digital elevation data of the study area, and the characteristics were analyzed. Through evaluation of the accuracy, it was confirmed that digital elevation data from a 3D laser scanner and UAV show accuracy within a 10 cm maximum, and it is suggested that it can be used for spatial information construction. In the future, collecting 3D elevation data from a 3D laser scanner and UAV is expected to be utilized as an efficient geospatial information-construction method.

• Art History and Visual Culture
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• no.21
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• pp.126-147
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• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.

• Journal of Communication Design
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• v.65
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• pp.530-538
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• 2018

Recently, museums are attracting the attention of visitors and society. However, research on museum interpretation conducted at domestic and foreign is relatively limited. The plan design of the museum commentary system was mainly based on the perspective of the experts, and most of them do not reflect the desire of the visitors. This study focused on visitors' experience of using museum Interpretation system. Through analyzing the effect of the Interpretation system of the museum that the visitor feels, we examined whether the Interpretation system of the museum meets the cultural needs of the visitors and identified the problems and deficiencies in the system. After that, the problems were rearranged and suggested the main elements of the commentary system of the museum finally, so as to help improve the museum commentary system and the educational function.In the first part of the study, the four major explanatory methods existing in the museum were confirmed. After that, we conducted in - depth interviews on four types of commentary methods and collected existing problems and deficiencies. The results of the type analysis were grouped into 14 types and the questionnaire was used to conduct a general survey on 14 problems. In this study, the user 's discomfort and problems were identified in the museum Interpretation system, and based on this, five key elements necessary for the museum Interpretation system were derived. Among them, inhalation is the weakest element in the museum commentary system, and future research will be conducted on how to apply each factor. I hope that you will be a reference material when you carry out research on the optimization of the Interpretation system of the museum and the improvement of the Interpretation experience.