• Journal of the Institute of Electronics Engineers of Korea SC
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• v.41 no.4
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• pp.39-43
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• 2004

A typical theme of active vision systems is gaze-fixing of a camera. Here gaze-fixing of a camera means by steering orientation of a camera so that a given point on the object is always at the center of the image. For this we need to combine a function to analyze image data and a function to control orientation of a camera. This paper presents an algorithm for gaze-fixing of a camera where image analysis and orientation control are designed in a frame. At this time, for avoiding difficulties in implementing and aiming for real-time applications we design the algorithm to be a simple closed-form without using my information related to calibration of the camera or structure estimation.

• Physical Therapy Korea
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• v.13 no.4
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• pp.23-29
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• 2006

The purpose of the present study was to examine gaze effects on spatial and kinematic characteristics during a pointing task. Subjects were asked to watch and point to an aimed target (2 mm in diameter) displayed on a vertically mounted board. Four gaze conditions were developed as combinations of "seeing-aiming" in terms of the eye movements: Focal-Focal (F-F), Focal-Fixing (F-X), Fixing-Focal (X-F), and Fixing-Fixing (X-X). Both the home target and an aimed target were presented for 1 second and then were disappeared in F-F and X-F. In X-F and X-X, only an aimed target disappeared after 1 second. Subjects were asked to point (with index finger tip) to an aimed target accurately as soon as the aimed target was removed. A significant main effect of gaze was found (p<.01) for normalized movement time. Peripheral retina targets had significantly larger absolute error compared to central retina targets on the x (medio-lateral) and z (superior-inferior) axes (p<.01). A significant undershooting to peripheral retina targets on the x axis was found (p<.01). F-F and X-F had larger peak velocities compared to F-X and X-X (p<.01). F-F and X-F were characterized by more time spent in the deceleration phase compared to F-X and X-X (p<.01). The present study demonstrates that central vision utilizes a form of on-line visual processing to reach to an object, and thus increases spatial accuracy. However, peripheral vision utilizes a relatively off-line visual processing with a dependency on proprioceptive information.

• KIPS Transactions on Software and Data Engineering
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• v.1 no.3
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• pp.195-200
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• 2012

To steer a camera is done based on system parameters of the vision system. However, the system parameters when they are used might be different from those when they were measured. As one method to compensate for this problem, this research proposes a gaze-steering method based on LMI(Linear Matrix Inequality) that is robust to variations in the system parameters of the vision system. Simulation results show that the proposed method produces less gaze-tracking error than a contemporary linear method and more stable gaze-tracking error than a contemporary nonlinear method. Moreover, the proposed method is fast enough for realtime processing.

• Journal of Science of Art and Design
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• v.2
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• pp.193-221
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• 2000

The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.

• English & American cultural studies
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• v.14 no.1
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• pp.27-51
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• 2014

Doris Lessing describes a band of revolutionaries who become involved in terrorist activities far beyond their level of competence in The Good Terrorist. Alice Mellings who is from a middle-class family has organized a squat house in London and seems capable of controlling everyone around her and anything about the house. She is seemingly like a housekeeper or a breadwinner. She also likes to be on the battlefront, for instance, demonstrating, picketing and spray-painting slogans. Such is able to easily exploit the others and she increasingly becomes the leader in the house. Recently some critics have focused on the political and social roles of the protagonist who represents a voice of terrorists in the 1980s England. Based on this, The Good Terrorist is read with the concept of the subject of feminism that Gillian Rose adopts in order to show that this subject tries to avoid the exclusion of the master subject. This subject imagines spaces which are not structured through masculinist claims to exhaustiveness. Alice as the subject of feminism shows different roles; she extorts or steals money for the maintenance of the house from her affluent parents; she spends all her time cleaning, fixing, decorating the deserted house; and she looks after the official affairs related to the house with her skills and experiences. She is systematically in charge of the house and sits at the head of the table in the kitchen. But when their activities turn into disaster and their plans fail, Alice willingly decides to close down the house after ousting the members. Here in her extorted gaze it is revealed that she takes control over the working class members of the house who are unable to lead a revolution because of their own problems and thereby the working class are dominated by the middle class. That is, the place is paradoxically recreated based on class differences, which the revolutionaries try to break. By representing the deconstruction and recreation of the place through squat houses, Lessing reveals her implicit feminism in which a new place should be produced crossing the principle of the dichotomy of gender and class.