• Journal of Computing Science and Engineering
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• v.6 no.2
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• pp.168-177
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• 2012

The search for relevant and actionable information is a key to achieving clinical and research goals in biomedicine. Biomedical information exists in different forms: as text and illustrations in journal articles and other documents, in images stored in databases, and as patients' cases in electronic health records. This paper presents ways to move beyond conventional text-based searching of these resources, by combining text and visual features in search queries and document representation. A combination of techniques and tools from the fields of natural language processing, information retrieval, and content-based image retrieval allows the development of building blocks for advanced information services. Such services enable searching by textual as well as visual queries, and retrieving documents enriched by relevant images, charts, and other illustrations from the journal literature, patient records and image databases.

• Journal of Multimedia Information System
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• v.1 no.1
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• pp.1-10
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• 2014

In this paper, we propose a new view synthesis technique for coding of multi-view color and depth data in arbitrary camera arrangements. We treat each camera position as a 3-D point in world coordinates and build clusters of those vertices. Color and depth data within a cluster are gathered into one camera position using a hierarchical representation based on the concept of layered depth image (LDI). Since one camera can cover only a limited viewing range, we set multiple reference cameras so that multiple LDIs are generated to cover the whole viewing range. Therefore, we can enhance the visual quality of the reconstructed views from multiple LDIs comparing with that from a single LDI. From experimental results, the proposed scheme shows better coding performance under arbitrary camera configurations in terms of PSNR and subjective visual quality.

• Proceedings of the IEEK Conference
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• 2009.05a
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• pp.408-410
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• 2009

We present an efficient and robust measurement model for visual tracking. This approach builds on and extends work on subspace representations of measurement model. Subspace-based tracking algorithms have been introduced to visual tracking literature for a decade and show considerable tracking performance due to its robustness in matching. However the measures used in their measurement models are often restricted to few approaches. We propose a novel measure of object matching using Angle In Feature Space, which aims to improve the discriminability of matching in subspace. Therefore, our tracking algorithm can distinguish target from similar background clutters which often cause erroneous drift by conventional Distance From Feature Space measure. Experiments demonstrate the effectiveness of the proposed tracking algorithm under severe cluttered background.

• ETRI Journal
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• v.41 no.4
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• pp.483-493
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• 2019

Considering the high dimensions of video sequences, it is often challenging to acquire a sufficient dataset to train the tracking models. From this perspective, we propose to revisit the idea of hand-crafted feature learning to avoid such a requirement from a dataset. The proposed tracking approach is composed of two phases, detection and tracking, according to how severely the appearance of a target changes. The detection phase addresses severe and rapid variations by learning a new appearance model that classifies the pixels into foreground (or target) and background. We further combine the raw pixel features of the color intensity and spatial location with convolutional feature activations for robust target representation. The tracking phase tracks a target by searching for frame regions where the best pixel-level agreement to the model learned from the detection phase is achieved. Our two-phase approach results in efficient and accurate tracking, outperforming recent methods in various challenging cases of target appearance changes.

• Journal of Korea Game Society
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• v.12 no.3
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• pp.25-36
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• 2012

Cross-Media Storytelling(CMS) is the new method of media representation. It picks the features and the elements in one media, and uses them in another media. 'Remediation' in digital era uses the content of old media in new form based on new technology. But 'CMS' represents the basic elements of the media experience in each unique style of media. It changes the focus from the technology to experience. So CMS is the new strategy of the media not based on the new technology. Adam PESapane's (2006) is a example for this strategy. It takes the game media as a subject matter. But it expresses the meta-representation of game experience in the "stop motion animation" Especially it emphasizes the narrative chain between the usual phenomenon and the visual imagination. And it shows the possibility of representation of new media experience in the old media genre. So it suggests the conditions of CMS.

• Journal of Science of Art and Design
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• v.12
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• Archives of design research
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• v.15 no.2
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• pp.187-196
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• 2002

This article is a study on modern wall painting of Korea. The system of wall paintings in Korea is studied in the first chapter. It contains the function, the painters'peculiar character, the psychological basis and the subjects of wall painting. The most popular subjects are the Lee dynasty's folk custom and visual symbols of this period. The second chapter sees the study of these subjects in Lacan's psychoanalytic view. The representation of Lee dynasts custom in this post modern society reveal that the Korean lives in the realm of the imaginary in visual level. That is the projection of their desire to be in the perfect community which is believed to be existed in Lee's dynasty. However the visual circumstance in Korea is the symbolic which is constructed of the Western symbols. This visual confliction reveals Korean Habitus and the lack of independent visual expression method. For conclusion, it is proposed that the relation of Korean Habitus and design must be studied to create proper visual circumstance.

• Journal of Digital Convergence
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• v.20 no.5
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• pp.751-759
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• 2022

Game graphics provide players with a sense of immersion, leading to active participation. This paper aims to analyze the mythological meaning for symbolic design of game skill visual effects that reproduce the narrative and the worldview of games borrowing myths. The research method classified the visual effect image into a symbol of the form of a universal archetype representation and a symbol of color expressing the narrative in the game, and analyzed it by applying Roland Barthes' semiological scheme. Through this study, it was possible to analyze the meaning of visual effects as a mythical meaning that can be universally sympathized and an implicit meaning that symbolizes the narrative of the game. The symbolic expression of the visual effect, which reproduces the narrative of the game reflecting the myth, can induce players to engage and participate, and the design direction was intended to provide the visual effect to have a unique symbolism that reflects the game's mythical worldview of the game.

• Journal of Elementary Mathematics Education in Korea
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• v.9 no.2
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• pp.85-110
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• 2005

The purpose of this study is to examine the characteristics of visual representation used in problem solving process and examine the representation types the students used to successfully solve the problem and focus on systematizing the visual representation method using the condition students suggest in the problems. To achieve the goal of this study, following questions have been raised. (1) what characteristic does the representation the elementary school students used in the process of solving a math problem possess? (2) what types of representation did students use in order to successfully solve elementary math problem? 240 4th graders attending J Elementary School located in Seoul participated in this study. Qualitative methodology was used for data analysis, and the analysis suggested representation method the students use in problem solving process and then suggested the representation that can successfully solve five different problems. The results of the study as follow. First, the students are not familiar with representing with various methods in the problem solving process. Students tend to solve the problem using equations rather than drawing a diagram when they can not find a word that gives a hint to draw a diagram. The method students used to restate the problem was mostly rewriting the problem, and they could not utilize a table that is essential in solving the problem. Thus, various errors were found. Students did not simplify the complicated problem to find the pattern to solve the problem. Second, the image and strategy created as the problem was read and the affected greatly in solving the problem. The first image created as the problem was read made students to draw different diagram and make them choose different strategies. The study showed the importance of first image by most of the students who do not pass the trial and error step and use the strategy they chose first. Third, the students who successfully solved the problems do not solely depend on the equation but put them in the form which information are decoded. They do not write difficult equation that they can not solve, but put them into a simplified equation that know to solve the problem. On fraction problems, they draw a diagram to solve the problem without calculation, Fourth, the students who. successfully solved the problem drew clear diagram that can be understood with intuition. By representing visually, unnecessary information were omitted and used simple image were drawn using symbol or lines, and to clarify the relationship between the information, numeric explanation was added. In addition, they restricted use of complicated motion line and dividing line, proper noun in the word problems were not changed into abbreviation or symbols to clearly restate the problem. Adding additional information was useful source in solving the problem.

• The Journal of Art Theory & Practice
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• no.16
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.