• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.689-697
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• 2014

This study aims to analyze the representation forms of bloggers' personal style on the fashion blogs and enlighten their values which can be actively applied to design and marketing in fashion industry. Image representation of fashion bloggers is reflected by the characteristics in the digital environment, which are the creative manipulation of expression and the production of virtual and fantastic images by taking advantage of the composite medium such as images, music, videos, articles, etc. Also real time updates in blog indicate the latest trends in terms of the representation of image as the actual currency. The study conducted case studies of 5 women's personal fashion blogs through the verification of a variety of global fashion media and blog ranking sites: Style Bubble, Style Rookie, The Cherry Blossom Girl, The Blond Salad, and Fashion Toast. Research findings are as follows. First, the application of creative design elements is indicated as symbolic items, self-made designs, DIY, and various mix and match emphasizing design elements such as color, patterns, proportion, etc. Second, the virtual representation is very highlighted on the story telling applied by film like production or digital effect. Third, the commercial application with mainly sponsored wardrobe and designer collaboration indicates promoting a updated trend as well as a specific brand or designer to make their business profits.

• Archives of design research
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• v.15 no.4
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• pp.169-176
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• 2002

All kinds of artwork, including multimedia and digital image that has been subliminated into an af mediating two numbers 0 and 1 in recent age, are self-sufficient and autonomous in themselves. Nevertheless, each of those artworks can be realized as a real entity only if its appreciator is capable enough to explore some potential meaning out of it through his or her own perceptual work. According to Mikel Dufrenne, an artwork is composed of three existential tiers: "le sensible" or the sensible material; "fe representation" or the subject(le sujet), and "1′expression." Dufrenne contends that our esthetic perception can be realized by way of three steps that are comparable to those three tiers: perception of the presence of the body("le sensible"), contemplative perception by way of imagination("le representation"), and reflective perception ("1′expression") as a result of dialectics of sense and sensibility. This paper argues on the aesthetic perception with regard to digital image expressed by two numbers 0 and 1, putting focus on the epistemological role of sensibility(감) that explores "1′expression" a la Dufrenne.

• Journal of Korea Society of Digital Industry and Information Management
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• v.7 no.2
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• pp.29-37
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• 2011

Java bytecode verification is a critical process to guarantee the safety of transmitted Java applet on the web or contemporary embedded devices. We propose a design of framework which enables to analyze and verify java bytecode. The designed framework translates from a java bytecode into the intermediate representation which can specify a properties of program without using an operand stack. Using the framework is able to produce automatically error specifications that could be occurred in a program and express specifications annotated in intermediate representation by a user. Furthermore we design a verification condition generator which converts from an intermediate representation to a verification condition, a verification engine which verifies verification conditions from verification condition generator, and a result reporter which displays results of verification.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.257-264
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• 2001

To propose the construction of architectural interior design and communication using graphic, web3D, it was studied the kind and character of various representation methods that can be embodied in an architectural interior design on the web, and looks into whether these ways can be adapted to an architectural interior design process. Especially, the use of the current techniques on graphic and CAD data give the most suitable effect by using the integrated data such as vector animation, an interaction of object VR(Virtual Reality), a high quality of panorama VR, and data treatment and its interaction of drawing of cad data. As a result, the single data format shows not only one image representation but also a stream of continuous operation through a change into another format. But this desired study expects that another next studies will go on interaction and integration of digital format with increase of transmission speed expected in the future, and a digital model and its practical methods.

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.

• Journal of the Korean Institute of Gas
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• v.9 no.2 s.27
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• pp.28-33
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• 2005

Because chemical industrial facilities deal with large amount of hazardous materials, the damage affect to off-site as well as on-site when an accident occurs. So it is necessary to develop a Risk Representation System for effective control and response to major accidents. In this study a Risk Representation System(S/W) was developed to help analyzing actual risk and to set an alternative that can reduce the analyzed risk by drawing the level of individual plant's risk on a digital map network.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.113-121
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• 2015

Artifact pattern representation of a method using the digital technology is largely are two digital rubbing technique and digital contrast technique. Digital rubbing technique is clearly with the naked eye to see the original prestigious and difficult to build a digital rubbing data patterns by scanning a prestigious and patterns carved into the artifacts in three dimensions without compromising the circle to represent the three-dimensional effect by contrast it to the objective value refers to a technique that can be represented in digital. Digital contrast technique can not be calculated if the depth information of the object due to the glassy film of artefacts in a three-dimensional surface scanning and the application of this technique refers to a realistic image mapped digital technique for generating digital image contrast. Digital rubbing technique is mainly useful to express the most prestigious and patterns expressed in pottery or tile and stone monument, etc. engraved or embossed, digital contrast techniques can be used effectively to artifacts such as magnetic or glass can not be applied to the digital rubbing technique.

• Proceedings of the KIEE Conference
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• 1999.11c
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• pp.533-536
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• 1999

We consider digital implementation problems of continuous-time controllers. In general, digital controllers use fixed point representation of number and of finite word length(FWL). Under these conditions, this paper investigates the closed-loop stability caused by three design constraints; (i) finite precision representation of the controller parameters, (ii) realization forms such as direct form, cascade form, and parallel form, and (iii) sampling time. We calculate the coefficient stability margins of both predesigned controllers and controller to be implemented. This method can be applied to determine the word length, realization structure, and sampling time so that remains the stability.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.549-557
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• 2020

Chinese is the most spoken language in the world. However, because Chinese is a hieroglyphic language, using Chinese in a digital environment is very inconvenient. Chinese users are using Pinyin for Chinese input, but the phonetic representation of the Latin alphabet is not good. Hunminjeongeum has an excellent phonetic representation which can improve Chinese usage in digital environment. Therefore, it is possible to improve the use of Chinese by Chinese users in digital environment and to help Korean users who are learning Chinese. Therefore, this paper proposes a Chinese input method using Hunminjeongeum. In addition, we develop an input software using this input method and verify its effectiveness by evaluating usability.

• Journal of Digital Contents Society
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• v.18 no.7
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• pp.1313-1321
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• 2017

In the future society where ICT-based digital convergence creates new value, collaborative skills among experts in various fields and SW based problem solving ability is more emphasized. Non-SW specialists are required to have SW based communication skills to effectively collaborate with SW experts to solve their problems. Therefore, SW programming curriculum for non-major college students should be different from the existing programming education for SW-majors aiming at a high level of coding ability. It is also known that diagram-based visual representation is helpful for productive communication and collaboration. In this study, we defined the SW education objectives for the non-majors as cultivating the visual programming ability for SW based problem solving. In order to accomplish this, we explored SW programming curriculum and content development model for non-majors focusing on visual representation of SW solutions. The results of this paper will help to provide appropriate SW learning model for non-majors and to cultivate practical SW capabilities.