• 한국의류산업학회지
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• 제5권5호
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• pp.481-494
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• 2003

The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

• 조형예술학연구
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• 제2권
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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.

• 한국의상디자인학회지
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• 제13권1호
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• pp.113-123
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• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

• 방송공학회논문지
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• 제15권5호
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• pp.617-630
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• 2010

고해상도 비디오에 대한 압축 성능 향상을 위해 ITU-T VCEG에서는 H.264/AVC 표준을 근간으로 다양한 압축 성능 개선 기법들을 추가해 왔는데, 그중 ALF 기법은 양자화에 의해 발생한 오류를 제거할 수 있는 필터링 방법을 제공함으로써, 고해상도 영상에서 평균 9%의 매우 높은 성능 개선 능력을 보이는 핵심 기술이다. 하지만 기존의 ALF는 한 프레임 내에서 하나의 Wiener 필터만을 사용하므로, 다수의 서로 다른 통계적 특성을 가진 영역이 존재하는 경우에는 능률적인 오류 복원 성능을 제공하기 어려운 한계를 가지고 있다. 따라서 본 논문에서는 한 복호 프레임에 존재하는 다양한 영역 별 통계적 특성을 반영하여 보다 유연한 율-왜곡 관점에서의 ALF 선택이 가능할 수 있도록, 적응적 율-왜곡 최적 다중 루프 필터 기법을 제안한다. 제안 알고리즘을 통해 다양한 영상에 대하여 기존 알고리즘의 성능을 안정적으로 개선할 수 있었으며, 영상에 뚜렷한 특성 차이를 지닌 복수의 오브젝트가 존재할 경우에는 더욱 높은 비트율 감소 이득을 얻을 수 있었다.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2003년도 추계종합학술대회 논문집
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• pp.161-166
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• 2003

본 논문에서는 웹카메라(WebCam)을 이용한 멀티미디어 보안시스템을 설계하고 이를 구현하는 새로운 방법을 제안한다. 최근 여러 분야에서 WebCam을 응용하여 다양하고 편리한 기능의 시스템을 구현하고, 이를 웹의 편리한 기능에 접목시켜 구조적이고 향상된 성능을 실현하고 있다. 멀티미디어 동영상은 고도의 자료압축 방식과 통신회선 속도의 향상 및 인터넷을 통한 다양한 서비스가 가능해지면서 기존의 보안시스템에 대한 성능향상을 목적으로 크게 변모하고 있다. 본 논문에서 제안하는 보안시스템의 설계방식은 개방된 인터넷을 이용한 통신망 환경에서 보안시스템이 달성하고자 하는 목적을 위하여 웹의 활용성을 충분히 보여줄 수 있을 뿐 아니라 다양한 웹 서비스를 활용함으로써 기존의 것보다 뛰어난 응용성을 보장하는 형태이다. 실시간 멀티미디어 동영상 및 음성의 전송을 통한 현실감 있는 모니터링은 물론 다양한 방식으로 변환되는 정보 서비스와 멀티미디어 자료저장 및 추출을 통한 비실시간 감시 및 보안을 모두 실현할 수 있는 구조와 실현 시스템을 제시하는 것이다.

• 한국컴퓨터그래픽스학회논문지
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• 제6권4호
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• pp.1-7
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• 2000

가상세계를 저작하기 위한 일반적인 방법은 3차원 모델을 사용하여 객체를 만들고, 그 3차원 객체들을 조직하기 위하여 "장면 그래프(scene graph)"라는 자료구조를 사용하는 것이다. 최근 가상현실의 또 다른 플랫폼으로 이미지 기반 렌더링이 대두되고 있는데, 이 것은 사진과 같은 사실감을 줄 수 있다는 큰 장점을 가진 반면 상호작용의 한계로 인하여 아직까지는 간단한 항해 시스템 등에서만 사용하고 있다. 이 논문은 객체/장면 표현에 대한 위의 두 접근방법의 장점 병합하여, 3차원 모델과 다양한 이미지 기반 객체/장면을 정의하고 이 것들을 함께 렌더링 할 수 있는 장면 그래프 구조를 제안하였다. 또한 Shade등 [1]이 이미 제안한 것처럼, 한 객체에 대한 여러 단계의 LOD(level of detail)를 표현하기 위하여, 서로 다른 다양한 표현방법을 사용하였다. 예를 들면, 동일한 객체지만 가까운 거리에 위치할 때는 3차원 모델을 보여주고, 중간정도 떨어져 있는 경우 빌보드(billboard)의 형태로 보여주며, 아주 멀리 있을 때는 환경 맵(environment map)의 한 부분으로 보여줄 수 있다. 이러한 혼합된 플랫폼을 사용하는 가장 큰 목적은 이미지 기반의 가상환경에 3차원 모델을 포함시킴으로써 상호작용의 한계를 극복하는 것이다. 이러한 플랫폼을 만들기 위하여 몇 가지 선행해야 할 기술적인 과제들이 있다. 다양한 이미지 기반 기술을 유지할 수 있는 장면 그래프의 노드를 디자인하고, 적절한 LOD나 표현을 선택할 수 있는 기준을 정립하며, 그들 사이의 전환을 처리해야 함은 물론, 적절한 상호작용 방법을 구현하고, 전체적인 장면을 올바르게 렌더링 하는 것을 보장할 수 있어야 한다. 현재 우리는 Sense8사의 WorldToolKit 의 장면 그래프 구조에 환경 맵, 빌보드, 움직이는 텍스쳐(moving textures)와 스프라이트(sprites), 그림 속으로의 여행(Tour-into-the-Picture)", view interpolated 객체를 위한 새로운 노드를 추가하였다. 시점으로부터의 거리나 이미지 공간상의 척도를 사용하여 적절한 LOD를 선택하였으며, 사용자가 객체의 내부깊이를 인지하는 거리를 기준으로 객체를 3차원 모델로 보여줄 것인지 이미지로 보여줄 것인지 결정하였다. 또한 상호작용 중에는 객체가 얼마나 떨어져 있는지에 관계없이 3차원 모델이 있다면 그것을 사용하도록 하였다. 마지막으로, 이론적으로 유도한 스위칭 규칙이 유효한지 실험을 하였으며, 긍정적인 결과를 얻었다.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.136-146
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• 2014

As of 2010, apartment occupies more than half of all houses in Korea. It took just half a century since 1960 when apartment was introduced to ordinary people for the first time. The apartment has spread over the nation very swiftly since then. This phenomena needs more inclusive explanations than the investigations into the government's policies or economical situations. Without satisfaction and consensus of people, the universal spread of apartment might be fairly unrealizable. In this vein, the research and analysis has been performed in order to grasp the picture of everyday life's discourse based on the related articles from five major newspapers and five women's magazines during 1960~1989. From the articles' discourses we tried to understand how modern apartment has been accepted and evaluated through people's living life in it. First, the discourse of living life was generated mostly by housewives through the comparison between apartment and traditional house. Second, the most influential aspect of apartment's popularization was the convenience of efficient housekeeping system by modern equipment and home appliance installed in apartment. This efficiency could allow housewives to perform various urban activities such as work, shopping, and simple going out. Third, the satisfaction from efficiency and privacy brought about a sense of alienation at the same time. As a result, the rapid proliferation of apartment in Korea could be attained not only by the institutional driving forces but through the fulfillments of Korean people's housing needs from modern everyday life.

• 법제연구
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• 제44호
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• pp.241-281
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• 2013

첫째, 정부조직은 그 출발에서부터 국가형태 정부형태와 연계되어 논의되어야 한다. 현실적으로는 정부조직 법정주의와 비법정주의의 조화가 필요하다. 우리의 정부조직 법정주의에서 정부조직의 유연성을 확보하기 위해서는 새 정부의 출범과 더불어 새 정부가 요구하는 정부조직을 의회는 가급적 수용하는 자세가 필요해 보인다. 이를 통해서 정부조직 법정주의의 경직성을 완화시켜 주어야 한다. 하지만 새 정부의 정부조직이 지나치게 많은 변화를 요구하는 것은 자칫 헌법이 추구하는 정부조직 법정주의의 본질을 훼손시킬 우려가 있다. 그런 점에서 새 정부의 지나치게 자의적인 정부조직 변경은 바람직하지 않다. 그 어떤 경우에도 정부조직은 장기적 안정성을 담보해야 한다. 둘째, 행정각부가 아닌 일반적인 행정기관은 국무총리의 통할을 받지 아니하고 대통령 직속으로 설치해서는 아니 된다. 헌법이 대통령${\rightarrow}$국무총리${\rightarrow}$행정각부의 하이라키를 형성해 두고 있음에도 불구하고 대통령${\rightarrow}$집행기관을 설치하는 것은 원칙적으로 위헌이라고 보아야 한다. 그러므로 대통령실에는 대통령비서실과 특수한 임무를 가진 기구의 설치에 한정되어야 하며, 대통령실에 일반행정기관을 편의적으로 설치하는 것은 현행헌법의 정신에 어긋난다. 셋째, 국무총리실은 명실상부한 내치의 중심축이어야 한다. 그런 점에서 대통령은 국가원수로서 국가의 나아갈 방향을 그리는 큰 정치에 전념해야 한다면, 국무총리실을 중심으로 한 내각은 국가의 일상적인 업무를 총괄해야 한다. 넷째, 집행기관의 두 축은 총리실과 행정각부가 된다. 잦은 행정각부의 명칭 변경에 따른 혼란을 수습하고 아울러 전통적인 행정 각부의 명칭과 권위를 복원시키고, 국가의 정통성을 회복시켜야 한다. 한국적 민주주의의 정착을 위해서는 민주법치국가의 공고화를 위한 제도적 설계가 필요하다. 또한 공안부처와 경제부처도 시대적 현실에 부응한 개혁의 필요성이 높다. 또한 시대변화에 순응하는 기술과 정책의 융합을 합리적으로 해결해 나가야 한다.

• 패션비즈니스
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• 제22권1호
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• pp.82-99
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• 2018

The purpose of this study is to examine the characteristics that appeared in the fashion and colors of exotic tastes used by Renoir with a view to re-evaluating his-attitude towards exotic tastes. The methods used in this study were literature research and analysis of visual data from Renoir's works. The results of the study are as follows. Renoir's exotic tastes originated from the material perspective appearing in the fashions and accessories of Algeria, Orient, Spain, and Japan. Parisienne Odalisque Lise in Harem-style, Jeanne Samari in parisienne fashion holding a Japanese fan, and Gabriel in oriental fashion were portrayed as major muses. The Algerian style consisted of white, yellow or red veils, thobes, loose pants worn in Haik, and burnous. The Oriental-style was composed of harem pants, turbans, hair accessories, ornate zouave jackets, and oriental ornaments. The Spanish-style showed gay ornaments, fitted red or yellow matador costume, red bandannas, black hats, and red dresses, plus Spanish guitars. The Japanese-style consisted of kimonos, accessories such as fans, and backgrounds with interior articles such as vases, wall picture frames, and folding screens. The exotic fashion colors were red, yellow and white. Renoir expressed the works with his delicate skills and sense of craftsmanship, and he even added creative design portrayals sometimes. He selected fashions and accessories of exotic tastes as objects and expressed the objects with materials and colors reflecting regional characteristics as such, he can be regarded as an artist wed to who fashions of exotic tastes.