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Computer Vision-based Automated Adhesive Quality Inspection Model of Exterior Insulation and Finishing System (컴퓨터 비전 기반 외단열 공사의 접착제 도포품질 감리 자동화 모델)

Yoon, Sebeen;Kang, Mingyun;Jang, Hyounseung;Kim, Taehoon
- Journal of the Korea Institute of Building Construction
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- v.23 no.2
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- pp.165-173
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- 2023
This research proposed a model for automatically monitoring the quality of insulation adhesive application in external insulation construction. Upon case implementation, the area segmentation model demonstrated a 92.3% accuracy, while the area and distance calculation accuracies of the proposed model were 98.8% and 96.7%, respectively. These findings suggest that the model can effectively prevent the most common insulation defect, insulation failure, while simultaneously minimizing the need for on-site supervisory personnel during external insulation construction. This, in turn, contributes to the enhancement of the external insulation system. Moving forward, we plan to gather construction images of various external insulation methods to refine the image segmentation model's performance and develop a model capable of automatically monitoring scenarios with a considerable number of insulation materials in the image.
https://doi.org/10.5345/JKIBC.2023.23.2.165 인용 PDF

Bourdieu and Photography -A Critical Review of Bourdieu's Works in the Sociology of Photography- (부르디외와 사진 : 사진행위에 대한 부르디외의 분석이 갖는 의의와 한계)

Joo, Hyoung-Il
- Korean journal of communication and information
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- v.17
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- pp.145-178
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- 2001
Bourdieu is one of the few social science researchers who were interested in photography. Bourdieu's work on photography appears principally in two books: Un art moyen: Essai sur les usagrs sociaux de la photographie(1965) and La distinction(1979). In these books, Bourdieu analyzes the role of photography in the family life of peasants and small town and urban dwellers. He shows how different classes and groups express their esthetic worldview in response to different photographs and photographic styles. What Bourdieu analyzed is not just photography but ways of photographing and ways of looking at pictures. Through these analyses, Bourdieu explores the social definition of photography. Bourdieu's ideas on photographic practice in social life are as follows. First, the photography, especially family photography generally practiced, has the integrative function. It recreates the group by ritualizing and solemnizing the important moments of social life in which the group reaffirms its unity. Second, the photography as esthetic practice in search of legitimacy as a fine art becomes a means by which different classes are pitted against each other. Each of classes gives its own meaning to photographic practice. Despite its originality and persuasive power, Bourdieu's work on photography has its own limits. The data used by Bourdieu are 35 years old and relevant to European social life. Things has changed since. First, the technological improvement and innovation in photography was considerable. Cheap and good photographic materials, easy to operate, made photographic practice everybody's everyday activity. New media like camcorder and digital camera made photography one of the industrial discards like jukebox. It means that photography does not function as important means of distinction between classes any longer. The integrative function of the photography becomes more ambiguous too. Second, the esthetic status of the photography has changed. The family photography was already integraed into fine art. Photography is not a middle-brow art any more. Bourdieu's work on photography shows how photography was used by different social classes in European social life of the 1960's. His work is historically and geographically limited. Moreover, his work was ordered by the french affiliate of Eastman Kodak Company. And all along the analysis, Bourdieu didn't hide his intention of distinguishing his sociological method from the other methods, especially psychological one. These mean that Bourdieu's work was done in a specific context, for specific purposes. In this respect, Bourdieu's work on photography, like every sociological work, can not claim to be universal.
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