• Journal of the Institute of Electronics and Information Engineers
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• v.54 no.8
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• pp.67-80
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• 2017

This paper presents a hole-filling method using extrapolated spatio-temporal background information to obtain a synthesized view. A new temporal background model using non-overlapped patch based background codebook is introduced to extrapolate temporal background information In addition, a depth-map driven spatial local background estimation is addressed to define spatial background constraints that represent the lower and upper bounds of a background candidate. Background holes are filled by comparing the similarities between the temporal background information and the spatial background constraints. Additionally, a depth map-based ghost removal filter is described to solve the problem of the non-fit between a color image and the corresponding depth map of a virtual view after 3-D warping. Finally, an inpainting is applied to fill in the remaining holes with the priority function that includes a new depth term. The experimental results demonstrated that the proposed method led to results that promised subjective and objective improvement over the state-of-the-art methods.

• Journal of the Korea Furniture Society
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• v.27 no.1
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• pp.1-7
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• 2016

De Stijl in order to began in the Netherlands in 1917 is an art movement that becomes the theoretical background of modernism design was the foundation geometric abstraction. Steel design for that they offered a new paradigm at that time art, in various fields such as industrial design is still applied, especially works of De Stijl in the design area of urniture it became the beginning of the modern furniture. The starting point of this study is to analyze the two-dimensional representation characteristics to understand the background of the formation with the basic concepts of De Stijl. Therefore the generation of the surface to be displayed in the work of De Stijl and to analyze the divided element, and not if learn their expression characteristics. Also the line and the plane of the two-dimensional modeling properties of De Stijl, after described colors, and studied the characteristics of De Stjil writers for typical analyzes the moldability shown in their work, which based on, we try to present a new representation technique.

• Korea Science and Art Forum
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• v.37 no.3
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• pp.125-134
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• 2019

This study was conducted to organize a program to classify and analyze the characteristics of images for the automation of background music selection in the video content production process. The results and contents of the study are as follows: video characteristics are selected as subject category, emotion, pixel motion speed, color, and character material. Subject categories and feelings were extracted using Microsoft's Azure Video Indexer, Pixel Movement Speed was an Optional flow, Color was an Image Histogram for Image, and character materials was CNN(Convolutional Neural Network). The results of this study are significant in that video analysis was conducted to match background music in the recent content production process of 'Internet One-person Broadcasting Creators'.

• Journal of the Korean Geographical Society
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• v.42 no.2 s.119
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• pp.258-279
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• 2007

Culture and art are emerging as main components in the creative economy to enhance the competitiveness of urban centres in the global market by nurturing cultural or artistic industries. A range of research exists which investigates the role of artists and art museums in the process of urban regeneration in Northern American and Western European countries. Yet research into the geography of at galleries acting as an intermediary between art works and cultural consumers remain rare. Empirical research on gentrification and urban regeneration and their connection with spaces for cultural consumption in Asian cities is even less common. The aim of this paper is to show the rise and decline of art galleries in Seoul and the way that this reflects urban development process, historically specific conditions and the characteristics of artists' communities. The background of the locational agglomeration of an galleries is examined in connection with the human ecology of artists, art business and its implication for the global market. The location of art galleries in Seoul seems to be affected by commercial art business and public policy, rather than by artists communities embedded in local areas. The location dynamics of art gallery clusters in Seoul is examined in the context of rent increases, changes of consumers' taste and fluctuating market cycles.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.44-52
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• 2011

Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.

• Journal of Science of Art and Design
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• v.6
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• Journal of the Korean Society of Costume
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• v.22
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• pp.313-332
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• 1994

The purpose of this study were as follows : 1) Investigate how to intluence Clothes with time background and trends of art-thought in the twenty century. 2) To understand chronologically how to change hair style Make-up and hair decor-ation. I. 1st and 2nd World War time(1920-1945) The women's social status and their sexual equality was promoted during in this time. 1) African Art Surrealism and Expression art were doninated. 2) The popalar trends were tutular silhoutte (Slim and long) boyish Style and military lookwere popular. 3) The popalar trends of were Eton Crop. short bob gaconne hair style cloche hat. page boy hair style were popular. 4) The trend of make-up which specially. emphasized eye make-up and imitated movie star make-up and make shining redish of lip and nails were popular. II. The stage of modernism(1945-1969) cold war time between communism and capi-talism and promotin of women's human rights were established in this time. 1) Pop art avantgrade art were catched up 2) The popular trends of were new look Kior's line silhoutte mini skirt and young fashion. 3) The popular trend of hair style was french twist. Pill Boxs hat curly bob style were prevalenced and they some what dwarfed hair style. 4) make-up natural make-up was popular. III. The stage of high economic development (1969-1990) Increased population economic development were tend to specialize with anti-social action such as Hippie and Punk groups. 1) Op art Androgynous post-modernism Punk and neo-modernism were catched up. 2) Clothes : classic style of reactionism layered look Punk-fashion avantgrade fashion and pantalon suits were prevalence. 3) Hair Style : Twiggy's short hair style the geometric hair cut natural long hair Spike hair unsex-hair style. 4) Make-up : diversified individuality were prevalence The result of this study indicated that the value's of recognize the importance of total fashion that is the harmonization of clothes hair style and make-up.

• Cartoon and Animation Studies
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• s.32
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• pp.315-333
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• 2013

This study aims to investigate that today's Mixed Reality Technology did not appear suddenly but has its beginnings in 20th century Visual and Interactive Art. First, Photographic Art expressed three-D on the two-dimensional plane and mixed images of reality and virtuality. Photogram made people experience both two-dimensional images and three-dimensional effects concurrently, and Photomontage combined various photos and mixed reality and virtuality. Next, Cinema tried to combine virtuality and reality using objets and CG. Early Cinema composed films and real objets. As computer technology developed, Cinema composed objet CG on real images and then tried background CG compositing. Finally, Telepresence Art tried a new possibility of Mixed Reality breaking the boundary between reality and virtuality, subject and object. It oscillates between virtual space in reality and real space in virtuality, or represents Mixed Reality by remote control of long distance participants. In the future, for the development and direction of Mixed Reality, there will be more need of referring to Visual and Interactive Art.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.318-335
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• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• Journal of Ginseng Research
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• v.41 no.2
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• pp.144-150
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• 2017

Background: The presence of gross deletions in the human immunodeficiency virus nef gene ($g{\Delta}nef$) is associated with long-term nonprogression of infected patients. Here, we investigated how quickly genetic defects in the nef gene are associated with Korean Red Ginseng (KRG) intakein 10 long-term slow progressors. Methods: This study was divided into three phases over a 20-yr period; baseline, KRG intake alone, and KRG plus highly active antiretroviral therapy (ART). nef gene amplicons were obtained using reverse transcription polymerase chain reaction (PCR) and nested PCR from 10 long-term slow progressors (n = 1,396), and nested PCR from 36 control patients (n = 198), and 28 ART patients (n = 157), and these were then sequenced. The proportion of $g{\Delta}nef$, premature stop codons, and not in-frame insertion or deletion of a nucleotide was compared between three phases, control, and ART patients. Results: The proportion of defective nef genes was significantly higher in on-KRG patients (15.6%) than in baseline (5.7%), control (5.6%), on-KRG plus ART phase (7.8%), and on-ART patients (6.6%; p < 0.01). Small in-frame deletions or insertions were significantly more frequent among patients treated with KRG alone compared with controls (p < 0.01). Significantly fewer instances of genetic defects were detected in samples taken during the KRG plus ART phase (7.8%; p < 0.01). The earliest defects detected were $g{\Delta}nef$ and small in-frame deletions after 7 mo and 67 mo of KRG intake, respectively. Conclusion: KRG treatment might induce genetic defects in the nef gene. This report provides new insight into the importance of genetic defects in the pathogenesis of AIDS.