• Journal of Intelligence and Information Systems
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• v.24 no.3
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• pp.1-19
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• 2018

Large amount of data is now available for research and business sectors to extract knowledge from it. This data can be in the form of unstructured data such as audio, text, and image data and can be analyzed by deep learning methodology. Deep learning is now widely used for various estimation, classification, and prediction problems. Especially, fashion business adopts deep learning techniques for apparel recognition, apparel search and retrieval engine, and automatic product recommendation. The core model of these applications is the image classification using Convolutional Neural Networks (CNN). CNN is made up of neurons which learn parameters such as weights while inputs come through and reach outputs. CNN has layer structure which is best suited for image classification as it is comprised of convolutional layer for generating feature maps, pooling layer for reducing the dimensionality of feature maps, and fully-connected layer for classifying the extracted features. However, most of the classification models have been trained using online product image, which is taken under controlled situation such as apparel image itself or professional model wearing apparel. This image may not be an effective way to train the classification model considering the situation when one might want to classify street fashion image or walking image, which is taken in uncontrolled situation and involves people's movement and unexpected pose. Therefore, we propose to train the model with runway apparel image dataset which captures mobility. This will allow the classification model to be trained with far more variable data and enhance the adaptation with diverse query image. To achieve both convergence and generalization of the model, we apply Transfer Learning on our training network. As Transfer Learning in CNN is composed of pre-training and fine-tuning stages, we divide the training step into two. First, we pre-train our architecture with large-scale dataset, ImageNet dataset, which consists of 1.2 million images with 1000 categories including animals, plants, activities, materials, instrumentations, scenes, and foods. We use GoogLeNet for our main architecture as it has achieved great accuracy with efficiency in ImageNet Large Scale Visual Recognition Challenge (ILSVRC). Second, we fine-tune the network with our own runway image dataset. For the runway image dataset, we could not find any previously and publicly made dataset, so we collect the dataset from Google Image Search attaining 2426 images of 32 major fashion brands including Anna Molinari, Balenciaga, Balmain, Brioni, Burberry, Celine, Chanel, Chloe, Christian Dior, Cividini, Dolce and Gabbana, Emilio Pucci, Ermenegildo, Fendi, Giuliana Teso, Gucci, Issey Miyake, Kenzo, Leonard, Louis Vuitton, Marc Jacobs, Marni, Max Mara, Missoni, Moschino, Ralph Lauren, Roberto Cavalli, Sonia Rykiel, Stella McCartney, Valentino, Versace, and Yve Saint Laurent. We perform 10-folded experiments to consider the random generation of training data, and our proposed model has achieved accuracy of 67.2% on final test. Our research suggests several advantages over previous related studies as to our best knowledge, there haven't been any previous studies which trained the network for apparel image classification based on runway image dataset. We suggest the idea of training model with image capturing all the possible postures, which is denoted as mobility, by using our own runway apparel image dataset. Moreover, by applying Transfer Learning and using checkpoint and parameters provided by Tensorflow Slim, we could save time spent on training the classification model as taking 6 minutes per experiment to train the classifier. This model can be used in many business applications where the query image can be runway image, product image, or street fashion image. To be specific, runway query image can be used for mobile application service during fashion week to facilitate brand search, street style query image can be classified during fashion editorial task to classify and label the brand or style, and website query image can be processed by e-commerce multi-complex service providing item information or recommending similar item.

• The Journal of the Petrological Society of Korea
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• v.21 no.3
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• pp.287-307
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• 2012

The study area, which is located in the southeastern part of the Jirisan province of the Yeongnam massif, Korea, consists mainly of the Precambrian Hadong northern anorthosite complex (HNAC) and the Jirisan metamorphic rock complex (JMRC) and the Mesozoic granitoids which intrude them. Its tectonic frame is built into NS trend, unlike the general NE-trending tectonic frame of Korean Peninsula. This paper researched the structural characteristics at each deformation phase to clarify the geological structures associated with the NS-trending tectonic frame which was built in the HNAC and JMRC. The result indicates that the geological structures of this area were formed at least through three phases of deformation. (1) The $D_1$ deformation formed the $F_1$ sheath or "A"-type folds in the HNAC and JMRC, and the $S_{0-1}$ composite foliation and the $S_1$ foliation and the $D_1$ ductile shear zone which are (sub)parallel to the axial plane of $F_1$ fold, and the $L_1$ stretching lineation which is parallel to the $F_1$ fold axis owing to the large-scale top-to-the SE shearing on the $S_0$ foliation. (2) The $D_2$ deformation (re)folded the $D_1$ structural elements under the EW-trending tectonic compression environment, and formed the NS-trending $F_2$ open, tight, isoclinal, intrafolial folds with the $S_{0-1-2}$ composite foliation and the $S_2$ foliation and the $D_2$ ductile shear zone with S-C-C' structure and the $L_2$ stretching lineation which is (sub)parallel to the axial plane of $F_2$ fold. The extensive $D_2$ ductile shear zone (Hadong shear zone) of NS trend was persistently developed along the eastern boundary of HNAC and JMRC which would be to the limb of $F_2$ fold on a geological map scale. The Hadong shear zone is no less than 1.4 km width, and was formed in the mylonitization process which produced the mylonitic structure and the stretching lineation with the reduction of grain size during the $F_2$ passive folding. (3) The $D_3$ deformation formed the EW-trending $F_3$ kink or open fold under the NS-trending tectonic compression environment and partially rearranged the NS-trending pre-$D_3$ structural elements into (E)NE or (W)NW direction. The regional trend of $D_1$ tectonic frame before the $D_2$ deformation would be NE-SW unlike the present, and the NS-trending tectonic frame in the HNAC and JMRC like the present was formed by the rearrangement of the $D_1$ tectonic frame owing to the $F_2$ active and passive folding. Based on the main intrusion age of (N)NE-trending basic dyke in the study area, these three deformation events are interpreted to have occurred before the Late Paleozoic.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.