• ETRI Journal
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• v.34 no.3
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• pp.466-469
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• 2012

In this letter, we propose a dual autostereoscopic display platform employing a natural interaction method, which will be useful for sharing visual data with users. To provide 3D visualization of a model to users who collaborate with each other, a beamsplitter is used with a pair of autostereoscopic displays, providing a visual illusion of a floating 3D image. To interact with the virtual object, we track the user's hands with a depth camera. The gesture recognition technique we use operates without any initialization process, such as specific poses or gestures, and supports several commands to control virtual objects by gesture recognition. Experiment results show that our system performs well in visualizing 3D models in real-time and handling them under unconstrained conditions, such as complicated backgrounds or a user wearing short sleeves.

• Korean Institute of Interior Design Journal
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• no.39
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• pp.12-19
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• 2003

M.C Escher was not a mathematician or architect, but a visual graphic woodblock artist. He expresses space in various angles such as illusion and space not represented in reality, repetition, geometric pattern and change in space vision. However, as his works represent the impossible space which is virtually not exist in reality, they were examined numerically by scientists and mathematicians rather than by designers. Because his distinctive approach to view space, his works have been highly evaluated by scholars in various fields. Based on the previous research by mathematicians and scientists, this study will examine the sp- atial logic was represented visually in the works of M.C Escher and find out the possible and adoptable alternatives for new space design and provide the design application direction in the expression of interior space.

• The Transactions of the Korea Information Processing Society
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• v.4 no.7
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• pp.1893-1899
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• 1997

Spatial dithering techniques are the method of rendering the illusion of continuous-tone pictures on displays that are capable of producing only binary picture elements. In this paper, we propose a new dithering algorithm which diffuses error into nearby pixels symmetrically. This method complements the artifacts of the error diffusion dither for the graphic images and the short-comings of the ordered dither that can't display some intensity level. We applied this method to graphic images and obtained results that complement the short-comings of conventional method.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.8
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• pp.1153-1164
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• 2002

The purpose of this study is to find out the creative visual expression in fashion illustration through the previous general theories on creativity. The creative visual expression, in fashion illustration works, can be summarized eight categories as follows. There are 'maximization & minimization'to emphasize the illustrators'emotions and contemporary trends, proposed specially in body expression, 'inversion' seen as the forms of contra-perspective, upside-down, rearrangement of parts, diverted process, etc, 'Unusual uses'to add the effect of caricature, parody, and humor to the fashion illustration works, 'extraordinary connection'seen as the shapes of various combination between animals, plants, stuff, and man, 'concealment & elimination'used frequently in creative visual expression includes a deformed human body, an abstracted human body, an extreme value contrast, simple colors, and dress in silhouette, 'association'seen in various methods; comparing the similar shapes, describing a certain situation or details for analogizing the whole, ‘illusion’ expressed in surreal, mysterious, and fairy depictions and 'substitution'to imitate the composition and colors of masterpieces, copy the parts.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.79-87
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• 2006

'Fantasy' in this study is Not something fantastic in the used to be-way we can Imagine easily. This study is to figure out 'fantasy' and 'the fantastic' as a significant measure to interpret the contemporary space-time. In particular, it analyzed that fantasy have influenced on some kind of specific trend what is expressed a tendency to contemporary interior designs of informal, indeterminacy and unpredictability. Fantasy is represented as 'the fantastic space' through spatial revealing, concealing, distorting, and connoting. Representation becomes a major issue in almost many kinds of knowledge-system that start from the mind to go out to the world in a realistic or idealistic way. Therefore, the fantastic space reconstructs the reality while making itself through to representational creation-process. It is Important for fantasy and the fantastic space to help detect behind beneath the reality more than what we know.

• Proceedings of the Korean Society of Computer Information Conference
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• 2011.06a
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• pp.293-295
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• 2011

스마트폰으로 무선게임을 이용하는 인원이 가입자의 증가로 1,000만 시대에 돌입하였고 2015년까지 연평균 무선게임 증가율을 32%에 달할 것으로 예견된다. 이에 본 연구에서는 착시현상을 이용한 스마트폰 게임을 개발하여 스마트폰 이용자들이 휴식시간에 기분전환으로 본 게임을 사용하도록 개발하였다. 본 개발은 사용자의 감정상태 종류별로 메뉴를 설정해 두어 해당 감정을 전환하는 기능을 추가할 수도 있으며, 여러 사람들과 착시되는 대상을 찾는 놀이로 활용 가능하다. 착시현상을 보는 중 시간을 측정하는 기능을 추가한다면 게임의 기능을 한층 높일 수 있다.

• Journal of Korea Multimedia Society
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• v.21 no.12
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• pp.1513-1525
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• 2018

This study examines the mechanism of how the dispositif, a dispositional concept of television, which is changing in form, Q-Sheet, is expressed as 'ideology' embedded in television. The dispositif implemented in television aims at the realization of mechanical desire through the internal disposition and makes the reality that it dazzles the public by adjusting the density of the gap and depreciates the existence of the aura itself. Instead of gaining new experience through the disposition, the public accepts the manipulated experience and falls into the illusion that it is true. In the television literacy program, the Q-sheet acts in the intervals and gaps that exist in the movement between the stacks, spreading the ideology, and the act of Channel Surfing by using the remote control is also a dispositf form of television viewing. In modern capitalist societies, television disposition are regenerating through proliferation and expansion, showing intent to dominate even art and culture through disposition, and autonomously injecting ideologies by television disposition.

• International journal of advanced smart convergence
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• v.8 no.1
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• pp.18-23
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• 2019

The image projected onto the screen of the floating hologram is no more than a two-dimensional image. Although it creates an illusion that an object appears to float in space as it moves around while showing its different parts. This paper has proposed a novel method of floating 3D hologram display to view stereoscopic three-dimensional images without putting on glasses. The system is comprised of a sharkstooth scrim screen, projector, polarizing filter for the projector, and a polarizing film to block the image projected from the sham screen. As part of the polarization characteristics, the background image and the front object have completely been separated from each other with the stereoscopic 3D effect successfully implemented by the binocular disparity caused by the distance between the two screens.

• Journal of Advanced Navigation Technology
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• v.27 no.4
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• pp.391-395
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• 2023

Helicopter accidents due to spatial disorientation in low visibility conditions continue to persist as a major issue. These incidents often stem from human error, typically induced by stress, and frequently result in fatal outcomes. This study employs machine learning to analyze flight data and evaluate the efficacy of a flight illusion detection algorithm, laying groundwork for further research. This study collected flight data from approximately 20 pilots using a simulated flight training device to construct a range of flight scenarios. These scenarios included three stages of flight: ascending, level, and descent, and were further categorized into good visibility conditions and 0-mile visibility conditions. The aim was to investigate the occurrence of flight illusions under these conditions. From the extracted data, we obtained a total of 54,000 time-series data points, sampled five times per second. These were then analyzed using a machine learning approach.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.183-184
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• 2023

스토리를 제대로 전달하려는 관점에서 제작자는 관객들이 무엇을 보게 할 것인가에 대한 고민이 필요하다. 즉, 관객의 시선을 시종일관 끌고 다녀야 한다. 그러한 관점과 더불어 관객이 일상에서 익숙한 공간감을 스크린 내에서도 확보해 줄 필요가 있다. 그러기 위해서는 영상의 깊이를 충분히 고려해야 하는데 이는 관객의 시선을 유도하는 반면에 현실 공간감을 확보하는 것이다. 스크린 내의 물체들을 자연 그대로의 원근감을 갖도록 촬영 환경을 구성하는 것도 필요하지만 스토리를 전개하는 피사체를 배경과 분리시킴으로써 자연스럽게 초점과 영점을 맞출 수 있도록 장면을 구현하는 것이다. 이를 위해서 제작(production) 단계에서는 촬영기법으로, 후반작업(post-production) 단계에서는 아웃 포커싱 등의 효과를 적용하는 방법 등이 고려될 수 있다. 본 논문에서는 영상의 깊이를 확보해야만 하는 이유와 이의 방법 등을 고찰해 본다.