• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Journal of The Korea Institute of Healthcare Architecture
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• v.22 no.4
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• pp.7-17
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• 2016

Purpose: As our population ages and becomes an elderly society the number of elderly care hospitals is rapidly increasing. Because physical functions and spatial perception in the elderly decrease with age, these hospitals require more systematic and intelligent space designs. The design of these spaces are even more complex because they must accommodate medical programs to treat various different diseases and ailments and also because there are many first time patients and irregular short term patients that seek out outpatient treatment services. Also by analyzing the spatial configuration systems and systematic relationships between each of the functional spaces of the outpatient treatment service departments for hospitals specialized in care for the elderly by focusing on the hallway and corridor systems of these hospitals, the according characteristics and trends were examined. Methods: Based on preceding research, the types of hallway and corridor systems of these hospitals were categorized into five types, including gallery corridors, middle corridors, hall-type, mixed type and cyclic type corridors, and into six types according to function including by medical diagnosis, patient registration, examination, administration and convenience and shared common space to derive any interconnecting relationships between the corridor systems. Also by comprehensively examining the types and combined utilization of the corridor types and the integration and the intelligibility of the space syntax, any trends within the corridor system were derived. The elderly care hospitals examined in this research study were twelve hospitals that opened after the year 2000 in Korea with more that 150 sick beds with areas larger than $1000m^2$ and with all outpatient medical service related rooms located entirely on a single floor of the hospital. Results: The following results could be confirmed based on this research study. 1) The spaces where medical diagnosis and examination occurred were adjacent, and the movement lines for first time patients and re-visiting patients were taken into consideration by separating the treatment space. 2) This research study confirmed that the larger the size of the hospital was, there were more detailed categorizations of treatment services and that there was a tendency for treatment areas to be separated and independent from examination areas. 3) There was a tendency for integration and intelligibility to decrease the more complex and diverse the combination of hall types designed into the corridor systems of these hospitals was. cyclic type corridors dramatically decreased the intelligibility of the corridor systems of these hospitals. 4) The priority rank of these spaces were confirmed to be highest in the order of registration, diagnosis, examination, treatment, administration and shared common spaces. However it was confirmed for the local integration that the diagnosis scope had the highest priority rank. Implications: There were exceptional cases confirmed where the number of unit spaces did not have an absolute effect on integration and intelligibility. These results can be interpreted to mean that this can be overcome through efficient architectural planning.

• Journal of Intelligence and Information Systems
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• v.18 no.2
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• pp.19-28
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• 2012

After the internet era, we are moving to the ubiquitous society. Nowadays the people are interested in the multimodal interaction technology, which enables audience to naturally interact with the computing environment at the exhibitions such as gallery, museum, and park. Also, there are other attempts to provide additional service based on the location information of the audience, or to improve and deploy interaction between subjects and audience by analyzing the using pattern of the people. In order to provide multimodal interaction service to the audience at the exhibition, it is important to distinguish the individuals and trace their location and route. For the location tracking on the outside, GPS is widely used nowadays. GPS is able to get the real time location of the subjects moving fast, so this is one of the important technologies in the field requiring location tracking service. However, as GPS uses the location tracking method using satellites, the service cannot be used on the inside, because it cannot catch the satellite signal. For this reason, the studies about inside location tracking are going on using very short range communication service such as ZigBee, UWB, RFID, as well as using mobile communication network and wireless lan service. However these technologies have shortcomings in that the audience needs to use additional sensor device and it becomes difficult and expensive as the density of the target area gets higher. In addition, the usual exhibition environment has many obstacles for the network, which makes the performance of the system to fall. Above all these things, the biggest problem is that the interaction method using the devices based on the old technologies cannot provide natural service to the users. Plus the system uses sensor recognition method, so multiple users should equip the devices. Therefore, there is the limitation in the number of the users that can use the system simultaneously. In order to make up for these shortcomings, in this study we suggest a technology that gets the exact location information of the users through the location mapping technology using Wi-Fi and 3d camera of the smartphones. We applied the signal amplitude of access point using wireless lan, to develop inside location tracking system with lower price. AP is cheaper than other devices used in other tracking techniques, and by installing the software to the user's mobile device it can be directly used as the tracking system device. We used the Microsoft Kinect sensor for the 3D Camera. Kinect is equippedwith the function discriminating the depth and human information inside the shooting area. Therefore it is appropriate to extract user's body, vector, and acceleration information with low price. We confirm the location of the audience using the cell ID obtained from the Wi-Fi signal. By using smartphones as the basic device for the location service, we solve the problems of additional tagging device and provide environment that multiple users can get the interaction service simultaneously. 3d cameras located at each cell areas get the exact location and status information of the users. The 3d cameras are connected to the Camera Client, calculate the mapping information aligned to each cells, get the exact information of the users, and get the status and pattern information of the audience. The location mapping technique of Camera Client decreases the error rate that occurs on the inside location service, increases accuracy of individual discrimination in the area through the individual discrimination based on body information, and establishes the foundation of the multimodal interaction technology at the exhibition. Calculated data and information enables the users to get the appropriate interaction service through the main server.

• Science of Emotion and Sensibility
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• v.16 no.3
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• pp.373-386
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• 2013

In this research, we specify the image consumers' preferred image quality ranges based on objective image quality evaluation factors and follow a method which measures preference of the natural image scenes. In other words, according to No-Reference, we select dynamic range, color, and contrast as factors of image quality measurements. For collecting sample images, we choose the preferred 200 landscapes which have over 30 recommendations by image consumers on the internet photo gallery. According to the scores of three objective factors of image quality measurements, the final expected score which means the image quality preference is measured and its total score is 100 points. In the main test, the actual image sample shows dynamic range 10 stop, LAB mean value L:54.7, A:2.96, B:-15.84, and RSC contrast 376.9. Total 200 image samples' normal distribution z value represents in dynamic range 0.21, LAB mean value L:0.15, A:0.38, B:0.13, and RSC contrast 0.08. In the standard normal distribution table, we can convert the z value as a percentage; dynamic range is 8.32%, LAB mean value is L:5.96%, A:14.8%, B:5.17%, and RSC contrast is 3.19%. And then, we convert the percentage values into the scores of 100; dynamic range is 91.68, LAB mean value is 91.36, and RSC contrast is 96.81. Therefore, we can conclude that the sample image's total mean score is 94.99 based on three objective image quality factors. Throughout our proposed image quality assessment model, we can measure the preference value of natural scenes. Also, we can specify the preferred image quality representation ranges and measure the expected image quality preference.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.279-292
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• 2018

Unlike the global art market which experienced rapid recovery from the impacts of the Global Financial Crisis in 2008, the Korean art market has not yet fully recovered. The gallery-oriented distribution system, vulnerable primary art market functions, and the market structure centered on a small number of collectors make it difficult for young and medium artists to enter the market and, as a result, deepen the economic polarization of artists. In addition, the high price of art works limits market participation by restricting the general public. This study began with the idea that the interest of the public in the art market as well as their participation in the market are urgent. To this end, we noted that public awareness of art transactions can be a starting point for improving the constitution of the fragile art market, focusing on the 'Artist-centered Art Fair' rather than existing art fairs. To examine the contribution of such an art fair to the popularization of the art market, we analyzed the case of the 'Visual Artist Market (VAM)' project of the Korea Arts Management Service. Results found that the 'Artist-centered Art Fair' focuses on providing opportunities for market entry to young and medium artists rather than on the interests of distributors, and promotes the popularization of the art market by promoting low-priced works to the general public. Also, the 'Artist-centered Art Fair' seems to play a primary role in the public sector to foster solid groups of artists as well as to establish healty distribution networks of Korean Art market. However, in the long run, it is necessary to promote sustainable development of the 'Artist-centered Art Fair' through indirect support, such as the provision of a publicity platform or consumer finance support, rather than direct support.

• Journal of the Korean Society of Costume
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• v.36
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.