• Journal of the Korean Society for Precision Engineering
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• v.27 no.6
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• pp.98-104
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• 2010

Rapid Prototypes with internally colored objects are convenient by visualizing. A rapid prototyping method has been developed to fabricate mono-colored or multi-colored objects. In this work, a new process was proposed that can fabricate internally visible colored 3D objects in stereolithography parts. The process consists of projection stereolithography process using transparent photocurable resin for outer shapes and molten ink deposition process using molten solid ink for internal shapes. In molten ink deposition process, molten solid ink could be deposited uniformly in a designed pattern. To make molten solid ink uniform over a designed region, parametric study through a patterning solid ink was performed. By laminating resin and solid ink in sequence, the process can make colored 3D objects in StereoLithography(SL) parts. The practicality and effectiveness of the proposed process were verified through fabrication of colored basic 3D objects in SL parts.

• Proceedings of the Korea Information Processing Society Conference
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• 2023.05a
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• pp.273-276
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• 2023

This paper presents the integration of Digital twin and Blockchain-based Supply Chain Management (DB-SCM) in a smart warehouse to create a more efficient, secure, and transparent facility. The process involves creating a digital twin of the warehouse using sensors and IoT devices and then integrating it with a blockchain-based supply chain management system to connect all stakeholders. All data are collected and tracked in real-time as goods move through the warehouse, and smart contracts are automatically executed to ensure accountability for all parties involved. The study also highlights the critical role of effective supply chain management in modern business operations and the significance of smart warehouses, which leverage advanced technologies such as robotics, AI, and data analytics to optimize warehouse operations. Later, we discuss the importance of digital twins, which allow for creating a virtual representation of a physical object or system, and their potential to revolutionize a wide range of industries. Therefore, DB-SCM offers numerous benefits, including enhanced efficiency, improved customer satisfaction, and increased sustainability, and provides a valuable case study for organizations seeking to optimize their supply chain operations.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• Korean Journal of Optics and Photonics
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• v.25 no.6
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• pp.326-333
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• 2014

Phase-measuring deflectometry is a full-field gradient measuring technique that lends itself very well to testing specular optical surfaces. We have measured the deformation of the surface of a lens by transmission deflectometry with liquids. In this study, a method is proposed for measuring the refractive index distribution of a transparent object component. The proposed method combines transmission deflectometry with liquids. The deformed fringe patterns of a sample immersed in different fluids are recorded, and then the three-dimensional phase information of the sample is reconstructed numerically. We have used phase-shifting and temporal phase-unwrapping methods to retrieve the phase from the measured deformed fringe pattern, and we have used a least-squares method to find the height information of the specular surface from the calculated slope. In particular, we have proposed a theoretical model for determining the refractive index of sample and planar convex lens are demonstrated experimentally.

• Journal of the Korean Society of Costume
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• v.30
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• pp.239-259
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• 1996

This research is to observe background of origination and process of changing style for men's suits and also to observe the root of aes-thetics which has made the changing style be maintained for nearly 200 years. The aesthetic characteristics are 1)The revival of the Neo-Classicism beauty in the 18th century could be regarded as the root of incipient style of the modern men's suits design. And the cutters recreated ancient nude hero which was an object of envy at that time and also reproduced men's suits through modifying the existed suits to make the ancientnude conform with the sewing regulations in order to describe and convey the perfect image of gender,. 2) The cutter who pursued merit of the classicismic aesthetics in the late 18th cen-tury artistically upgraded English rough country coat to keep pace with Nordic coat style of netherland Russia Germany while in constrast with the coat style mode which was in fashion in France and Italy then And also they changed the English country coat to a noble natural clothing structure in relation to ancient sculpture to keep the English tradition. 3) Im the 18th century Neo-Classicism art emphasized transparent and monochromatic beauty and thus color was limitedly used. In the use of the limited color however ancient aesthetical simple purity was well described within the more realistic outline. In those days the cutter who admired the English neo-Classicism removed color-luster and preferred colorless finished dimly and transparently. And thus color of the men's suits become to be also dim colored in los brightness. This means that it did not express pure beauty but brought such effect of the Classicism beauty that the nude itself was figured out.

• Journal of the Korea Convergence Society
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• v.6 no.3
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• pp.103-109
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• 2015

TOLED(Transparent, Organic Light Emitting Diodes) based edutainment system has been studied to solve the actual feeling training and educational experience problem of e-learning. However, edutainment system using TOLED has a problem for the non-detection of multi marker array and rotate marker array, and it has problem for the dissonance phenomena caused by Illumination Environment between real world and virtual object. It also has a do not provide services through a variety of devices problem. Therefore, in this paper, we designed a system that provides a realistic actual feeling edutainment contents by recognizes the marker array rotation and a plurality of marker arrangement via an improved marker detection technique. And to unify the real space and virtual space of the lighting environment through a nested block layer.

• Proceedings of the Korean Information Science Society Conference
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• 2005.07a
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• pp.640-642
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• 2005

분산된 컴퓨팅 환경은 프로세서의 개수를 적응적으로 활용하는 병렬 처리 환경으로 활용할 수 있다. 병렬 처리예 의한 수행 시간 단축 효과에 가장 많은 영향을 주는 것은 활용되는 프로세서의 개수와 병렬 처리 요소 상호 간의 통신 오버헤드이다. 분산된 컴퓨팅 환경으로 구성한 병렬 처리는 통신 오버헤드에 의한 단점과 프로세서의 개수를 자유롭게 활용할 수 있다는 장점이 상반되는 특성을 가지며 레이트레이싱에 의한 렌더링과 같이 계산량이 많고 병렬 처리 요소 상호 간의 통신량이 적은 응용 분야에 효과적이다. 분산된 컴퓨팅 환경을 병렬 처리에 활용하기 위하여 기존의 분산 처리 모델을 적웅용면 통신 오버헤드 이외에 부수적인 오버헤드(프로그래밍 및 확용 절차)로 인하여 실효성을 발휘하기 어렵다. 단일 컴퓨팅 환경을 위한 절차와 서비스를 그대로 적용하여 분산된 컴퓨팅 환경을 구성하는 여러 대의 컴퓨터를 통합하여 활용하는 방안은 이와 같은 부수적인 오버헤드를 해결할 수 있으며 본 연구팀에서 이미 발표한 TORB(Transparent Object Request Broker)는 프로그래밍 투명성의 제공을 통하여 분산된 컴퓨팅 환경을 활용하기 위한 프로그램을 단일 컴퓨팅 환경을 위한 프로그래밍 기법을 적응하여 작성할 수 있도록 지원한다. 지속적인 연구를 통하여 프로그래밍 투명성의 범위를 확장함과 동시에 활용 절차의 투명성을 지원하는 방안을 추가하였고 새로운 분산 처리 모델을 설계하여 이러한 절차와 서비스를 체계적으로 정립하였다. 인터넷에 연결된 컴퓨터는 적절한 수준의 컴퓨팅 능력을 갖추고 있고 상호 간의 정보 교환을 할 수 있는 상태이므로 "TORB"와 같이 잘 정의된 패러다임으로 이들을 통합하여 운영하면 병렬 처리에 참여하는 프로세서의 개수를 자유롭게 활용하여 수행시간 감소 효과(병렬 처리에 의한)를 극대화할 수 있다. 그러나 인터넷을 기반으로 하는 분산된 병렬 처리를 지원하기 위해서는 "TORB"가 이미 제공하는 투명성 외에 불특정한 타인이 작성한 프로그램 코드가 "TORB"를 통하여 자신의 컴퓨터에서 실행되어도 악의적인 동작을 수행하지 못하게 하는 보안 기능과 인터넷에 연결된 방대한 수의 컴퓨터를 "TORB"에 의해 구성되는 분산된 컴퓨팅 환경에 참여시키는 시나리오가 필요하다.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.41 no.1
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• pp.37-46
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• 2004

In this paper, we propose an improved reproduction algorithm for a realistic image of the real scene based on the spectral distribution of lights and objects. The proposed method for the realistic image is focused on a more accurate reproduction of an image incident on the sight of the viewer. At first, to reproduce an image accurately incident on a sight of viewer, we used the backward ray tracing method based on spectral distribution of object and illuminant representing its physical characteristic used in real. Next, we propose utilizing the improved shading model of the reproduction algorithm of realistic image by applying Bouguer-Beer's law to consider an optical absorptive property of transparent objects. We also define a new ambient light term which is considered the diffuse reflection of neighboring objects instead of constant ambient light. The simulation results show that the proposed algorithm can reproduce the visually similar image with a scene incident on a sight of viewer.

• Journal of the Korean Society of Costume
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• v.24
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• pp.157-176
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• 1995

The purpose of this treatise is to study external form and internal meaning of minimal expression fashion which appeared as a major stream in modern fashion trends to understand one aspect of modernism in fashion and also to gain insight into internal value of human beings through fashion. The results can be summarized as follows : Firstly , minimalism is a trend in art attempting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means and minimal production process. Secondly, minimal expression in fashion means seeking simplicity an dpurity by using minimum design elements and minimal productive process. Thirdly, external from of minimal expression fashion can be created through application of following minimal expression techniques. 1. Minimal expression techniques in terms of line mean smooth curve flowing along body contours, straight lines of diagonal lines into desciplined silhouette or rendering internal contour lines. 2. Minimum expression techniques in terms of forms mean forms of smooth curves flowing along boyd or forms with simple geometric forms from qualitative aspects, In terms of volume it means quest for essence of pure body itself by revealing body as it is by minimizing the size of dress or its area and herein is contained using simple geometric pattern or utilizing textiles without any patterns.3. Minimal expression techniques by colors mean simple colors such as primary colors, colors without clear distinctions or natural colors and in terms of quantity it means quest for one color within one item of dress or combination of each items when getting dressed. 4. Minimal expression techniques in terms of fabrics mean fabrics with simple surfaced. In terms of quantity it means quest for essence of tight fitting thin textiles to human body or using transparent materials to human body thus exposing body contours as it is. 5. Minimal expression techniques in terms of productive process mean minimizing process of tailoring , sewing or ornamenting and seeking for simplicity and purity. 6. Minimal expression techniques in terms of manufacturing process mean selection of technique conveying simple image with disciplined simple image. Fourthly, minimal expression fashion with external expression as mentioned in the above lay body-priority style and its internal meaning can be asummed as quest for essence and purity of human body.

• 보존과학연구
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• s.17
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• pp.123-160
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• 1996

There have been many studies and experiments regarding exhibition lighting. Many experiments on photochemical damaging effect and visibility resulted in a practice limited to assigning light levels and adjusting annual exposure time. The three damaging factors to the artifacts are intrinsicsusceptibility to absorb radiant energy, spectral distribution of light source and intensity of illumination and time of exposure. Dividing all the artfacts into three categories to suggest a recommended illuminance level causes some problems. Blue wool, for example, used as the reference material for susceptibility, is not a standard material representing museum artifacts. In the most light sensitive category, ISO class I or anything below have been excluded. The exposure time of one soure can be three times more than another sourece. The spectral distribution of the light source and the relative spectral responsibility of the artifact are not considered in the practice. So in case of very light sensitive material, the recommended illuminance is only the referring value and it is indispensable to check the characteristic of susceptibility of each artifacts. Daylighting is prevailing method to solve the psychological need of the visitors. However, it sould transparent, and should not diffused, and the green-house effect must be considered. llluminance uniformity should based on the maximum illuminance to handle the limitation of exposure for the conservation of a large sensitive object such as a painting. Damage index is not absolute reference for selecting the lighting source because it is experimented from the paper of low grade then calculated. Visibility should be increased by reducing the visual noiseand by planning of appropriate luminance contrast. This paper reviews the problems with the previous studies and experiment sand the current exhibition lighting design practice. The plan for museum showcase lighting is to check the susceptibility and to raise the visibility simultaneously.