• Cartoon and Animation Studies
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• s.33
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• pp.99-126
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• 2013

This study is meant to be seeing how fun of animation works by reviewing it theoretically and coordinating it to suggest the structure which integrates fun of animation and validates the proposed fun model. After reviewing fun theoretically, the fun of animation could be able to coordinate that fun of animation is consist of perceptive fun, cognitive fun, and psychological fun. Perceptive fun is induced by visual, auditory and other sensory information and it is directly affected the image, sound, and movement. Cognitive fun can be obtained by reasoning and interpretation to mobilize their knowledge with sensuously perceived stimulation and it is directly affected the story. Psychological fun occurs when the audience see the animation. The psychological fun is the psychological emotional state when the audience watches animation by relieving psychological congestion. It consists of fun of unfamiliarity or identification. By suggesting research model and validating it how the perceptive fun, cognitive fun, and psychological fun affects each other, perceptive fun enhances cognitive fun and psychological fun. Although cognitive fun enhances psychological fun, cognitive fun enhances psychological fun twice than perceptive fun. Also when perceptive fun affects psychological fun, cognitive fun shows the indirect effect as a parameter. In conclusion, perceptive fun affects psychological fun directly and be enhanced through cognitive fun. Fun of animation can be experienced when perceptive fun caused by accepting sensory information of animation instantly, cognitive fun caused by interpretation and understanding sensory information of animation, and psychological fun caused by relieving psychological identity through recognition fuses and acts as one. An animation emphasized a certain element is difficult to be loved by the audience. In this reason, an harmonical combination among the elements of story, image, sound and movement are important to combinate harmoniously for a successful animation to make the audiences fun by arising funny emotions.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of radiological science and technology
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• v.40 no.2
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• pp.245-251
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• 2017

This study measured the exposure dose during abdominal-pelvic CT exam which occupies 70% of CT exam and tried to propose a protocol for optimized exposure dose in abdomen and pelvis without affecting the imagery interpretation. The study scanned abdomen-pelvis using the current clinical scan method, the 120 kVp, auto exposure control(AEC), as 1 phase. As for the newly proposed 2 phase scan method, the study divided into 1 phase abdomen exam and 2 phase pelvis exam and each conducted tube voltage 120 kVp, AEC for abdomen exam, and fixed tube current method in 120 kVp, 100, 150, 200, 250, 300, 350, 400 mA for pelvis exam. The exposure dose value was compared using $CTDI_{VOL}$, DLP value measured during scan, and average value of CT attenuation coefficient, noise, SNR from each scan image were obtained to evaluate the image. As for the result, scanning of 2 phase showed significant difference compared to 1 phase. In $CTDI_{VOL}$ value, the 2 phase showed 26% decrease in abdomen, 1.8~59.5% decrease in pelvis for 100~250 mA, 12.7%~30% increase in pelvis for 300~400 mA. Also, DLP value showed 53% decrease in abdomen and 41~81% decrease in pelvis when scanned by 2 phase compared to 1 phase, but it was not statistically significant. As for the SNR, when scanning 2 phase close to heart, scanning 1 phase close to pelvis, scanning and scanning 1 phase at upper and lower abdomen, it was higher when scanning 2 phase for 200~250 mA. Also, the CT number and noise was overall similar, but the noise was high close to pelvis. However, when scanning 2 phase for 250 mA close to pelvis, the noise value came out similar to 1 phase, and did not show statistically significant difference. It seems when separating pelvis to scan in 250 mA rather than 400 mA in 1 phase as before, it is expected to have reduced effect of exposure dose without difference in the quality of image. Thus, for patients who often get abdominal-pelvic CT exam, fertile women or children, this study proposes 2 phase exam for smaller exposure dose with same image quality.

• Investigative Magnetic Resonance Imaging
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• v.1 no.1
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• pp.119-124
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• 1997

Purpose: To assess the utility of magnetic resonance(MR) cerebral blood volume (CBV) map in the evaluation of brain tumors. Materials and Methods: We performed perfusion MR imaing preoperatively in the consecutive IS patients with intracranial masses(3 meningiomas, 2 glioblastoma multiformes, 3 low grade gliomas, 1 lymphoma, 1 germinoma, 1 neurocytoma, 1 metastasis, 2 abscesses, 1 radionecrosis). The average age of the patients was 42 years (22yr -68yr), composed of 10 males and S females. All MR images were obtained at l.ST imager(Signa, CE Medical Systems, Milwaukee, Wisconsin). The regional CBV map was obtained on the theoretical basis of susceptibility difference induced by first pass circulation of contrast media. (contrast media: IScc of gadopentate dimeglumine, about 2ml/sec by hand, starting at 10 second after first baseline scan). For each patient, a total of 480 images (6 slices, 80 images/slice in 160 sec) were obtained by using gradient echo(CE) single shot echo-planar image(EPI) sequence (TR 2000ms, TE SOms, flip angle $90^{\circ}$, FOV $240{\times}240mm,{\;}matrix{\;}128{\times}128$, slice-thick/gap S/2.S). After data collection, the raw data were transferred to CE workstation and rCBV maps were generated from the numerical integration of ${\Delta}R2^{*} on a voxel by voxel basis, with home made software (${\Delta}R2^{*}=-ln (S/SO)/TE). For easy visual interpretation, relative RCB color coding with reference to the normal white matter was applied and color rCBV maps were obtained. The findings of perfusion MR image were retrospectively correlated with Cd-enhanced images with focus on the degree and extent of perfusion and contrast enhancement. Results: Two cases of glioblastoma multiforme with rim enhancement on Cd-enhanced Tl weighted image showed increased perfusion in the peripheral rim and decreased perfusion in the central necrosis portion. The low grade gliomas appeared as a low perfusion area with poorly defined margin. In 2 cases of brain abscess, the degree of perfusion was similar to that of the normal white matter in the peripheral enhancing rim and was low in the central portion. All meningiomas showed diffuse homogeneous increased perfusion of moderate or high degree. One each of lymphoma and germinoma showed homogenously decreased perfusion with well defined margin. The central neurocytoma showed multifocal increased perfusion areas of moderate or high degree. A few nodules of the multiple metastasis showed increased perfusion of moderate degree. One radionecrosis revealed multiple foci of increased perfusion within the area of decreased perfusion. Conclusion: The rCBV map appears to correlate well with the perfusion state of brain tumor, and may be helpful in discrimination between low grade and high grade gliomas. The further study is needed to clarify the role of perfusion MR image in the evaluation of brain tumor.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.91-101
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• 2009

In this study, the landscape of Insa-dong was interpreted from the viewpoint of a social construction of landscape, which regards the dynamic process of landscape change as more important than landscape visibility. This viewpoint also regards landscape as the result of its interaction with certain actors. From a review of previous studies on the same subject, it was found that the physical environment, institutions, and images are essential factors influencing landscape change. Insa-dong, which was Kwanindaing and Daesadong during the Joseon Dynasty, acquired symbolic meaning as a traditional area during the Japanese colonial period because of its many antique shops and Korean-style buildings. In 1970, the establishment of modern galleries in the district added to its image as a haven of the traditional Korean culture. Insa-dong thus eventually came to be referred to as "the street of traditional culture" by the people of Korea. Thanks to global festivals like the Asian Games, the Olympics, and the World Cup, Insa-dong's reputation as a cultural tourist destination has become stronger as these festivals created a need for a place in Korea where the country's traditional culture can be showcased to foreign tourists. After the mid-1990s, the merchants of Insa-dong began to cash in on the district's image as a showcase of traditional Korean culture due to the economic depression that emerged then. The people of Insa-dong and those outside it, however, came to feel that this trend damaged the district's image. Therefore, the people of Insa-dong and the district's local government started a movement to restore the aesthetic value and symbolic meaning of the district's landscape. This effort induced institutional change. Insa-dong used to be a natural haven of traditional Korean culture. Its landscape has recently been reconstructed so that this image could be restored. This process was made possible by the active interaction of diverse people: merchants, users, administrators, and NGOs.

• Journal of Fashion Business
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• v.13 no.6
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• Journal of KIISE:Computer Systems and Theory
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• v.27 no.7
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• pp.619-628
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• 2000

Abstract Perspective views provide a powerful depth cue and thus aid the interpretation of complicated images. The main drawback of current perspective volume rendering is the long execution time. In this paper, we present an efficient perspective volume rendering algorithm based on coherency between rays. Two sets of templates are built for the rays cast from horizontal and vertical scanlines in the intermediate image which is parallel to one of volume faces. Each sample along a ray is calculated by interpolating neighboring voxels with the pre-computed weights in the templates. We also solve the problem of uneven sampling rate due to perspective ray divergence by building more templates for the regions far away from a viewpoint. Since our algorithm operates in object-order, it can avoid redundant access to each voxel and exploit spatial data coherency by using run-length encoded volume. Experimental results show that the use of templates and the object-order processing with run-length encoded volume provide speedups, compared to the other approaches. Additionally, the image quality of our algorithm improves by solving uneven sampling rate due to perspective ray di vergence.

• Journal of radiological science and technology
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• v.26 no.1
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• pp.71-82
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• 2003

In this paper, I proposed a classifier of liver cirrhotic step using T1-weighted MRI(magnetic resonance imaging) and hierarchical neural network. The data sets for classification of each stage, which were normal, 1type, 2type and 3type, were obtained in Pusan National University Hospital from June 2001 to december 2001. And the number of data was 46. We extracted liver region and nodule region from T1-weighted MR liver image. Then objective interpretation classifier of liver cirrhotic steps in T1-weighted MR liver images. Liver cirrhosis classifier implemented using hierarchical neural network which gray-level analysis and texture feature descriptors to distinguish normal liver and 3 types of liver cirrhosis. Then proposed Neural network classifier teamed through error back-propagation algorithm. A classifying result shows that recognition rate of normal is 100%, 1type is 82.3%, 2type is 86.7%, 3type is 83.7%. The recognition ratio very high, when compared between the result of obtained quantified data to that of doctors decision data and neural network classifier value. If enough data is offered and other parameter is considered, this paper according to we expected that neural network as well as human experts and could be useful as clinical decision support tool for liver cirrhosis patients.

• Journal of Korean Society for Geospatial Information Science
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• v.18 no.3
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• pp.3-10
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• 2010

The development of various spatial information and GIS has led to the research on interpretation of natural phenomena and correlational studies. This study is aimed to analyze the correlation between RUSLE(Revised Universal Soil Loss Equation) around Nakdong River area during the period of 1955 to 2005 and the amount of area change in the islets at the estuary terrain calculated in the study "Change Detection at the Nakdong Estuary Delta using Satellite Image and GIS". For the calculation of RUSLE, The 'Revised-USLE' model, a modified USLE model commonly used in Korea was used. For the rainfall erosion factor to calculate and compare the area of islets, the actual observation data for one year before the observation of satellite image from all observatories across Korea was used. The correlation coefficient between RUSLE and area change of islets was 0.57 for Jinwoo Islet; 0.7 for Sinja Islet; 0.87 for Doyodeung. This results showed that there was a great influence from Doyodeung where the main water way of Nakdong River runs. This study showed that the study using USLE for various fields and through identifying the characteristics of each factor is useful to understand natural phenomenon in practice.

• Journal of radiological science and technology
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• v.29 no.3
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• pp.125-132
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• 2006

The PET/CT scanner is an evolution in image technology. The two modalities are complementary with CT and PET images. The PET scan images are well known as low resolution anatomic landmak, but such problems may help with interpretation detailed anatomic framework such as that provided by CT scan. PET/CT offers some advantages-improved lesion localization and identification, more accurate tumor staging. etc. Conventional PET employs tranmission scan require around 4 min./bed position and 30 min. for whole body scan. But PET/CT scanner can reduced by 50% in whole body scan. Especially nowadays PET scanner LSO scintillator-based from BGO without septa and operate in 3-D acquisition mode with multidetectors CT. PET/CT scanner fusion problems solved through hardware rather than software. Such device provides with the capability to acquire accurately aligned anatomic and functional images from single scan. It is very important to effective detection from gamma ray source in PETdetector. And can be offer high quality diagnostic images. So we have study about detection processing of PET detector and high quality imaging process.