• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.16-32
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• 2016

This study examines music visualization characteristics appearing in Giorgio Armani's S/S 2000 Collection and Genny's F/W 2000 Collection, which elicited and reinterpreted the characteristics through an analysis of Kandinsky's paintings. Study results are as follows. First, music visualization characteristics were extracted through an analysis of Kandinsky's works to examine music visualization that appears in contemporary fashion. Further analysis of Kandinsky's works were done in regards to music visualization (Impression, Improvisation, and Composition), and music visualization characteristics were categorized into 'spatial element', 'mobility', and 'overlap'. Second, the analysis of contemporary fashion with a spatial component showed that space was often clothed through color contrasts that highlighted concise and playful effects. Emphasis on line and three-dimensional effects were shown by overlapping lines and costume pleats with exposure expressed by semiotic forms and fabric character4istics. Third, the analysis of clothes that express mobility shows that they commonly express mobility through free color arrangements and a shading of colors with playfulness. The effects of emphasis, uniformity, and exposure were shown through the gloss and transformation of fabric that emphasized fabric characteristics; in addition, the effect of simplicity, three-dimensionality, and uniformity were expressed by adopting the forms of geometric shapes. Fourth, the analysis of clothes that manifest the overlap showed a predominant overlapping of colors and fabric. The esthetic effects of playfulness and exposure were emphasized through colors, shapes, and lines.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.83-94
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• 2010

Conventionally, ornament has developed around linear thinking based on Euclidean geometry, and been explained as simple and lucid natural Euclidean geometrical phenomena. The modular arrangement with vertical, horizontal and diagonal grids has been an organizing principle of classical ornament, but in digital era ornament is found not to be explained only with the principle of traditional arrangement due to the seemingly irregular complex forms. In that sense, this study presents the concept of digital ornament and examined the backgrounds of ornament in digital age, that are complex system and non-Euclidean geometry. Accordingly, the present study takes an approach by dividing new formal types of ornament into algorithmic form, hybrid form and dynamic form to find out a principle of pattern organization. Lately, architects who actively use computer for their architectural designs take the algorithmic strategies in nature and create various and complex patterns by simple rules. The patterns are not the repetition of the same, but the production of singularities. In addition, hybrid form by morphing shows a topologically flexible evolutionary transformation, and is used to create in-between transitional shapes from the source to target. Finally, the patterns by the interaction between the system components which are corresponded to the embedded forces emerge from dynamic simulation of the natural environment. Rather than objects itself, focus is given to the process of generating forms, and the ornamental patterns as the revelation of such implicit order provide not just the formal beauty but also spatial pathways for lights and air, maximizing the effects of lights.

• 한국문화재보존과학회:학술대회논문집
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• 2005.11a
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• pp.154-159
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• 2005

The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.8 no.4
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• pp.75-88
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• 2008

This paper presents a spatial-level nonparametric multi-focus image fusion technique based on kernel estimates of input image blocks' underlying class-conditional probability density functions. Image fusion is approached as a classification task whose posterior class probabilities, P($wi{\mid}Bikl$), are calculated with likelihood density functions that are estimated from the training patterns. For each of the C input images Ii, the proposed method defines i classes wi and forms the fused image Z(k,l) from a decision map represented by a set of $P{\times}Q$ blocks Bikl whose features maximize the discriminant function based on the Bayesian decision principle. Performance of the proposed technique is evaluated in terms of RMSE and Mutual Information (MI) as the output quality measures. The width of the kernel functions, ${\sigma}$, were made to vary, and different kernels and block sizes were applied in performance evaluation. The proposed scheme is tested with C=2 and C=3 input images and results exhibited good performance.

• Korean Institute of Interior Design Journal
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• no.28
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• pp.140-148
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• 2001

The purpose of this thesis is to provide basic information of efficient flow line arrangement, which results from examining the factors of route choice with a focus on the store' space elements and pedestrian activity patterns in the outlets. The route tracking is applied to grasp pedestrian activity patterns, therefore, a concrete analysis into influential factors of the space structure arrangement and forms on route choice. The route tracking is a means to understand pedestrian activity patterns by establishing an unrecognizable space and examining every route in the investigating area for pedestrian activity pattern research. Three sample stores have different systems in the ground plan structures, the escalator location and the directions. The analysis focuses on the booth arrangement and shopping patterns. In conclusion, route choice of the customers and the structure of the space are quite closely related and affect the quality of shopping. This can suggest evidence for the need of the space structure to meet the pedestrian activity patterns.

• Korean Institute of Interior Design Journal
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• no.31
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• pp.12-18
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• 2002

This study was performed to construct the spatial systems and shape grammars in architecture based on Froebel's educational idea and building gifts. Especially, it studies on the geometrical principles of Froebel's building gifts and it's types, and then illustrates applied examples about design vocabularies, spatial relations and shape rules of the spatial systems and shape grammars in architecture. The conclusions of this study that starts these purpose are as follows. First, Froebel's educational theory is based on principles and rules which are perceived through the observation of nature, and Froebel's kindergarten method consists of geometrical building gifts and categories of geometrical forms. Second, the characteristics of Froebel's building gifts are mathematical size, proportion, symmetry and the rules of spatial relation. Third, the development to the construction of spatial systems and shape grammars in architecture focus on the vocabularies of architectural elements, and Froebel's building gifts are used for illustration of examples in these formula.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.9 no.2
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• pp.680-699
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• 2015

The use of web service has been increased rapidly, with an increase in the number of available services, finding the exact service is the challenging task. Service discovery is the most significant job to complete the service discoverers needs. In order to achieve the efficient service discovery, we focus on designing a cluster based service discovery model for service registering and service provisioning among all mobile nodes in a mobile ad hoc network (MANETs). A dynamic backbone of nodes (i.e. cluster heads) that forms a service repository to which MANET nodes can publish their services and/or send their service queries. The designed model is based on storing services with their service description on cluster head nodes that are found in accordance with the proposed cluster head election model. In addition to identifying and analyzing the system parameters for finding the effectiveness of our model, this paper studies the stability analysis of the network, overhead of the cluster, and bandwidth utilization and network traffic is evaluated using analytic derivations and experimental evaluation has been done.

• Journal of Mushroom
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• v.14 no.4
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• pp.127-135
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• 2016

Cellulose is the most abundant organic polymer constituent of the cell wall of green plants and of various forms of algae. The complexity of lignocellulosic biomass is a major challenge in industrial research. Most mushroom species that naturally grow on soil or wood possess cellulases and the corresponding enzymatic system and, potential candidates for the direct bioconversion of softwood polysaccharides into fermentable sugars. However, there have been fewer studies on mushroom cellulases than on fungi such as Trichoderma spp., exploit the full potential of mushroom cellulases. This review will focus on the current status ofmushroom cellulase research and applications and will provide insight into promising future prospects.