• 한국의상디자인학회지
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• 제21권4호
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• 교육시설 논문지
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• 제22권4호
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• pp.15-25
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• 2015

The Olin Library in St. Louis was an important design competition for the United States in the 1950's, the rear of America's modern architecture. The participants of this competition were a variety of representative architects and groups of its time. With the library's functional rationality, the Olin Library competition was legible of the aspects of modern architectural flow. The competition required two demands. The first demand was absolute importance in character definition of place, which was to satisfy the site conditions approached from campus design. Secondly was related to interpretation of morphological symbolism in an architectural matter. The experiments of American modern architecture started to change its ideal goal gradually ; accommodating the altering public's code, at the same time, maintaining the original modern value was the reason to changing the ideal goal. As a turning point, the Olin Library should be understood as an important work, which divulged the value change of architectural interpretation.

• 대한음성학회:학술대회논문집
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• 대한음성학회 1996년도 10월 학술대회지
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• pp.224-228
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• 1996

This paper is intended as a study on how an utterance is divided into rhythmic units in Standard Korean with respect to its syntactic structure. With respect to the data in this study I used 150 sentences which contained similar number of words and various syntactic structures. Those sentences were read by 7 speakers of Seoul dialect in a conversation style. Each sentence was read twice in a normal speed and twice in a fast speed. As a total, 4200 sentences were recorded. Then listening to them, the author marked the sentences with two kinds of boundaries i.e. strong and weak. To explore the relationship between rhythmic units and syntactic structure I devised a framework of grammatical symbols. Each symbol is designed to have both syntactic and morphological information at the same time. So I assigned those grammatical symbols to the sentences. Having sentences marked with grammatical symbols on the one hand, and with the rhythmic boundaries on the other hand, 1 could show the relationship between rhythmic units and syntactic structure; which syntactic structures are likely to be pronounced as one rhythmic unit, and which are on the rhythmic boundaries.

• 복식
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• 제47권
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• pp.5-18
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• 1999

This study focus on the history of Scottish kilt and the application of kilt designed by Vivienne Westwood 1993 F/W. Up to late the 16 Century saffron shirt was worn among Highland men and belted plaid become common dress after the 17 Century. The early the 18 Century belted plaid have developed as a kilt separated to a upper and a lower skirt style. However Government banned wearing tartan and kilt after Culloden battle (1745) as highland Dress(tartan, kilt, belted plaid etc) was the symbol of rebellion. This legislation by Hanoverian authority continued for 35 years. Although most of tartan was disappeared during those period it has become popular among European upper class after george IV's visiting Scotlan in 1822. Highland Dress become Scottish national dress after Industrial revolution. Currently Vivienne Westwood's 93 F/W using tartan and kilt and its accessaries those items were successfully transformed modern ladies dress.

• 융합신호처리학회논문지
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• 제2권1호
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• pp.63-70
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• 2001

EZW(Embedded Image Coding Using Zerotrees of Wavelet Coefficients) 알고리즘의 경우는 해상도를 높이기 위해 임계값을 낮출 때 중요계수의 위치를 나타내기 위해 필요 없는 zero 값을 많이 코딩을 해야 하는 문제가 있다. 본 논문에서는 이러한 문제점을 해결하기 위하여 쿼드 트리(quad tree)방법을 이용하여 위치정보를 나나내었다. 그리고 그 계수들의 크기는 EZW 에서 사용한 방법과 유사한 메트릭스(matrix) 방법을 사용하였다. 본 논문에서 제안한 알고리즘으로 영상을 압축하게 되면 EZW와 MRWD(Morphological Representation of Wavelet Data)의 방법을 동시에 이용하는 효과가 있어 압축 효율이 증가함을 알 수 있었다.

• 한국멀티미디어학회논문지
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• 제15권10호
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• pp.1196-1204
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• 2012

본 논문에서는 다양한 멀티미디어 매체의 제어 및 인터랙션을 위하여 별도의 입력장치 없이 사용자의 경험기반의 동작 인식을 통하여 멀티미디어 콘텐츠를 제어 하는 알고리즘을 제안하였다. 본 논문에서 제안한 사용자 경험 기반 멀티미디어 콘텐츠 제어를 위한 휴먼 동작 인식 방법은 먼저, 카메라로부터 입력받은 영상을 조명의 변화에 크게 영향을 받지 않는 YCbCr컬러 영역으로 변환하여 피부색 추출과 모폴로지에 의한 잡음제거, Boundary Energy 및 Depth 영상을 이용하여 손 영역을 검출하였다. 검출된 손 영상에서 PCA 알고리즘을 이용하여 손 모양을 인식하고 차영상 및 모멘트 이론을 이용하여 손의 중심점 검출 및 궤적을 획득한 후, 손의 궤적을 시간을 기준으로 8분할하여 8방향 체인코드를 이용하여 심볼화하였다. 심볼화된 정보로 부터 HMM 알고리즘을 이용하여 손동작을 인식, 사용자의 동작 인식을 통하여 멀티미디어 콘텐츠를 제어하도록 하였다. 제안한 알고리즘을 실험에 적용한 결과 손 영역 검출은 94.25%, 손 모양 인식은 92.6%, 손 동작 인식은 85.86%, 얼굴 검출은 89.58%의 성능을 나타내었으며 이를 기반으로 컴퓨터 환경에서 생성 구축된 영상, 음성, 동영상, MP3, e-book 등과 같은 다양한 콘텐츠들을 동작인식만으로 제어할 수 있도록 하였다.

• 조형예술학연구
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• 제2권
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• pp.5-41
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• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.