• Proceedings of the KIEE Conference
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• 2004.11c
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• pp.346-348
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• 2004

In this rarer, we introduce a new Fuzzy Polynomial Neural Networks (FPNNs)-like structure whose neuron is based on the Fuzzy Set-based Fuzzy Inference System (FS-FIS) and is different from that of FPNNs based on the Fuzzy relation-based Fuzzy Inference System (FR-FIS) and discuss the ability of the new FPNNs-like structurenamed Fuzzy Set-based Polynomial Neural Networks (FSPNN). The premise parts of their fuzzy rules are not identical, while the consequent parts of the both Networks (such as FPNN and FSPNN) are identical. This difference results from the angle of a viewpoint of partition of input space of system. In other word, from a point of view of FS-FIS, the input variables are mutually independent under input space of system, while from a viewpoint of FR-FIS they are related each other. In considering the structures of FPNN-like networks such as FPNN and FSPNN, they are almost similar. Therefore they have the same shortcomings as well as the same virtues on structural side. The proposed design procedure for networks' architecture involves the selection of appropriate nodes with specific local characteristics such as the number of input variables, the order of the polynomial that is constant, linear, quadratic, or modified quadratic functions being viewed as the consequent part of fuzzy rules, and a collection of the specific subset of input variables. On the parameter optimization phase, we adopt Information Granulation (IG) based on HCM clustering algorithm and a standard least square method-based learning. Through the consecutive process of such structural and parametric optimization, an optimized and flexible fuzzy neural network is generated in a dynamic fashion. To evaluate the performance of the genetically optimized FSPNN (gFSPNN), the model is experimented with using gas furnace process dataset.

• Proceedings of the Korean Institute of Intelligent Systems Conference
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• 2004.10a
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• pp.433-436
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• 2004

In this paper, we introduce a new Fuzzy Polynomial Neural Networks (FPNNS)-like structure whose neuron is based on the Fuzzy Set-based Fuzzy Inference System (FS-FIS) and is different from that of FPNNS based on the Fuzzy relation-based Fuzzy Inference System (FR-FIS) and discuss the ability of the new FPNNS-like structure named Fuzzy Set-based Polynomial Neural Networks (FSPNN). The premise parts of their fuzzy rules are not identical, while the consequent parts of the both Networks (such as FPNN and FSPNN) are identical. This difference results from the angle of a viewpoint of partition of input space of system. In other word, from a point of view of FS-FIS, the input variables are mutually independent under input space of system, while from a viewpoint of FR-FIS they are related each other. The proposed design procedure for networks architecture involves the selection of appropriate nodes with specific local characteristics such as the number of input variables, the order of the polynomial that is constant, linear, quadratic, or modified quadratic functions being viewed as the consequent part of fuzzy rules, and a collection of the specific subset of input variables. On the parameter optimization phase, we adopt Information Granulation (IC) based on HCM clustering algorithm and a standard least square method-based learning. Through the consecutive process of such structural and parametric optimization, an optimized and flexible fuzzy neural network is generated in a dynamic fashion. To evaluate the performance of the genetically optimized FSPNN (gFSPNN), the model is experimented with using the time series dataset of gas furnace process.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.1
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• pp.78-89
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• 1999

Clothes enhance visual images through the interaction between space and background of the wearer. The influence of background is important as that of the clothes when the observer understands the images. We look at fashion pictures used as important as that various backgrounds are presented depending on the image of the clothes. The clothing the model wears in the pictures takes on shape and space which supports the clothes. The background interact to from the whole image. The background has an important influence on the delivery of image for the clothes. However when the clothes are presented in the background there are some cases that all or parts of clothes can be shown. We must consider the composition ratio of the clothes and background which influences the whole image of the clothing. These interactions and influences on the whole image in regards to clothing background and the ratio will be the focus of this study. clothing was Modern Mannish Casual, Feminine, Ground was decided artificial setting 1 natural setting 1, indoor setting 1, artificial setting 2, natural setting 2, indoor setting 2, Percentage of Clothing was 80% , 140%, 200%,. Thus visual stimulus were 72 pictures that were combined Clothing Ground and Percentage of Clothing, the main survey of questionary consisted of their evaluation of the Picture image combined Clothing and Ground by 30 semantic differential bi-polar scales and the subjects were 50 students majoring in clothing and textile. The data analyzed by factor analysis MCA, MDS, The major finding were as follows : 1) As a result of factor analysis, 5 factors -Attractiveness Hardness and softness Cuteness Attention Cool and Warm factor were found out as constructing factors the Picture image combined Clothing and Ground 2) According to multidimensional positioning map were presented in a stimulus position the perceptive image differed in degree of similarity as a ground construction of stimulus in spite of same clothing image. It will aid in choosing the most beneficial background for any clothing brand. It will enhance the picture images to their full potential in any advertising medium.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.117-127
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• 2010

In this study, hyperspace is a result of imagination created by means of facts and fiction, represents a transfer to determination and indetermination, and means an extension to an open form. In other words, hyperspace is a high dimensional space expanded to imagination through the combination of the viewpoint on facts in this dimension and fiction. When the 2D plane surface or 3D symmetry is destroyed, or when the frame is twisted or entangled, the non-Euclidean geometry is created eventually. And when the twisting leads to transmutation and the destruction of the form reaches the extreme; this in turn became the twisting like Mbius band. Likewise, the non-Euclidean geometry is co-related to the asymmetry of the Higgs mechanism. When the 'destruction of symmetry' is considered, symmetric theory and asymmetric world can be connected. The asymmetry in turn can maintain balance by arranging the uneven weights at different distances from the shaft. Moreover, at this the concept of the upper, lower, left and right, which was included in the original form, may be crumbled down. The destruction of the symmetry is essential in order to present forecast that coincides with the phenomenon of the real world. Non-Euclidean geometry characteristic is expressed by asymmetry, twists, and deconstruction and its representative characteristic is ambiguity. The boundary between the front, back, upper, lower, inner and outer is unclear, and it is difficult and vague to pinpoint specific location. The design that does not clearly define or determine the direction of wearing costume is indeed the non-oriented design that can be worn without getting restricted by specific direction such as front and back. Non-Euclidean geometry characteristic of hyperspace have been applied to create new shapes through the modification of the substance from traditional clothing of the eastern world to modern fashion. The way of thinking in the 'hyperspace' that used to be expressed in the costumes of the east and the west in the past became the forum for unlimited creation.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.10
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• pp.2157-2163
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• 2011

In this paper, we designed 2D, 2.5D cloth design system and a 3D cloth animation system. They make the 3D cloth animation possible by using coordinate points extracted from 2D and 2.5D cloth design system in order to realize a system that allows customers to wear clothes in the virtual space. To make natural draping, it uses for description the mesh creation and transformation algorithms, path extraction algorithm, warp algorithm, and brightness extraction and application algorithms. The coordinate points extracted here are received as text format data and inputted as clothing information in the cloth file. Moreover, the cloth file has a 2D pattern and is realized to be used in the 3D cloth animation system. The 3D cloth animation system generated in this way builds a web-based fashion mall using ISB (Internet Space Builder) and lets customers view the clothing animation on the web by adding the animation process to the simulation result.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.675-689
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• 2014

This study developed an ideal jeggings pattern with an improved body fit for 20-24 year old females. The results of the study are as follows. First, samples for wearing test were made using jegging patterns from three manufacturers; subsequently, one pattern with a relatively outstanding body fit was selected from the first test. The selected pattern suggested a tight knee, belly, and crotch, high front waist line, and low back waist line. The side lines were also lean to the front; consequently, the front hip width was extended for 0.5cm for more space around the belly and the extended front knee part for 0.2cm to increase moving suitability to fix the leaning side lines. A 1cm front waist line was extended for 0.5cm to fix it lower; in addition, the back waist line 3.0cm was extended for 0.5cm to heighten it. The crotch width was also extended for 0.5cm to add more space. The second wearing test for the fixed forms were evaluated for their outstanding features in appearance as well as moving functions that were proposed as final jeggings forms. The results of the study suggested a jeggings pattern with a better body fit using manufacturer patterns that can be used as basic data for pant patterns with better fitting using various stretch fabrics.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.1102-1118
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• 2011

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

• Journal of the Korean Geographical Society
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• v.48 no.3
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• pp.433-452
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• 2013

Bonjeong-tong(本町通) which was originated from Japanese place name and commercial center during Japanese colonial period speaks for downtown in the urban Korea of today. This study tries to investigate a variety of place memories that have been layered in Bonjeong-tong in the case of Chungmu-ro and Myeongdong area in Seoul, Korea. The author settles the concept of 'place memory' from the viewpoint of the discipline of human geography, and reconstructs place memories of Bonjeong-tong by three folds of layers focusing on the multilayeredness and the contestedness of place memories which have been piled up in Bonjeong-tong; 'the symbol of colonial power' vs. 'the emblem of modernization', 'the heart of monetary capitalism' vs. 'the ground of humanists and artists', 'the space of fashion' vs. 'the place of identity'. As a result, the author places emphasis on that a place like Bonjeong-tong in itself within a city is a sort of palimpsest, and suggests that therefore it is necessary to adopt a vertical approach not a horizontal one for the study on urban space in future.

• Bulletin of the Korean Chemical Society
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• v.26 no.8
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• pp.1197-1202
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• 2005

The Ln(III) complexes with picrate ligand, $[Sm(Pic)_2(H_2O)_6]Pic{\cdot}6H_2O$, 1, and $[Ho(Pic)(H_2O)_7](Pic)_2{\cdot}3H_2O$, 2, have been synthesized and their crystal structures are analyzed by X-ray diffraction methods. Complex 1, crystallizes in the monoclinic $P2_1/n$ space group and complex 2 in the triclinic P-1 space group. In complex 1, two picrate ligands coordinate to the Sm(III) ion, one of them in the bidentate fashion. There are one picrate anion and six water molecules in the crystal lattice. The nine-coordinated Sm(III) ion forms a slightly distorted tricapped trigonal prism. In complex 2, only one picrate ligand coordinates to the metal ion as a monodentate. There are two picrate anions and three water molecules in the crystal lattice. The eight-coordinated Ho(III) ion forms a distorted bicapped trigonal prism. Based on the results of the TG-DTG and DSC thermal analysis, it was analyzed that the lanthanide picrate complexes 1 and 2 are thermally decomposed in three distinctive stages, the dehydration, the picrate decomposition, and the formation of the metal oxide.