• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1998.06a
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• pp.33-36
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• 1998

Most image restoration problems are ill-posed and need to e regularized. A difficult task in image regularization is to avoid smoothing of image edges. In this paper, were proposed an edge-preserving image restoration algorithm using block-based edge classification. In order to exploit the local image characteristics, we classify image blocks into edge and no-edge blocks. We then apply an adaptive constrained least squares (CLS) algorithm to eliminate noise around the edges. Experimental results demonstrate that the proposed algorithm can preserve image edges during the regularization process.

• Journal of the Optical Society of Korea
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• v.18 no.4
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• pp.388-394
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• 2014

In this paper, we propose a three-dimensional (3D) image correlator by use of computational integral imaging reconstruction based on the modified convolution property of periodic functions (CPPF) for recognition of partially occluded objects. In the proposed correlator, elemental images of the reference and target objects are picked up by a lenslet array, and subsequently are transformed to a sub-image array which contains different perspectives according to the viewing direction. The modified version of the CPPF is applied to the sub-images. This enables us to produce the plane sub-image arrays without the magnification and superimposition processes used in the conventional methods. With the modified CPPF and the sub-image arrays, we reconstruct the reference and target plane sub-image arrays according to the reconstruction plane. 3D object recognition is performed through cross-correlations between the reference and the target plane sub-image arrays. To show the feasibility of the proposed method, some preliminary experiments on the target objects are carried out and the results are presented. Experimental results reveal that the use of plane sub-image arrays enables us to improve the correlation performance, compared to the conventional method using the computational integral imaging reconstruction algorithm.

• The Journal of Information Systems
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• v.29 no.2
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• pp.111-130
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• 2020

Purpose SNS (Social Network Service) is one of new promising marketing tools which allow marketer to do two-way communication and social interaction. Three characteristics of SNS marketing including informativeness, interactivity, and playfulness are distinguished from traditional marketing. The purpose of this study is to examine the relationships between three characteristics of SNS marketing, brand image, and purchase intention. Design/methodology/approach The present study proposed a research model integrating SNS marketing characteristics, brand image, and purchase intention represented by structural equation modelling and four hypotheses. A total of 20 questionnaire items for five variables were developed and measured by using five point Likert scale. 199 valid data were collected and used to test four hypotheses using SmartPLS. Findings Three hypotheses that the characteristics of SNS marketing such as informativeness, interactivity, and playfulness have a positive influence on brand image were supported at the significance level of 0.05 and 0.001 respectively. The hypothesis regarding the relationship between brand image and purchase intention was also supported at the significance level of 0.001. Brand image plays a significant mediating role in the relationship between SNS marketing and purchase intention. In particular, the result of research that playfulness of SNS marketing affects brand image significantly suggests a new future research theme regarding spiritual marketing. Implications for academics and practitioners were suggested.

• Smart Media Journal
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• v.5 no.1
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• pp.49-54
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• 2016

Medical image processing is a compulsory process to diagnose many kinds of disease. Therefore, an automatic algorithm for this task is highly demanded as an important part to construct a computer-aided diagnosis system. In this paper, we introduce an automatic method to segment the liver region from 3D abdominal CT images using Otsu method. First, we choose a 2D slice which has most liver information from the whole 3D image. Secondly, on the chosen slice, we enhanced the image based on its intensity using Otsu method with multiple thresholds and use the threshold to enhance the whole 3D image. Then, we apply a liver mask to mark the candidate liver region. After that, we execute the Otsu method again to segment the liver region from the chosen slice and propagate the result to the whole 3D image. Finally, we apply preprocessing on the frontal side of 3D images to crop only the liver region from the image.

• Smart Media Journal
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• v.13 no.3
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• pp.27-35
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• 2024

This study deals with a method of combining image generation using Semi Supervised Learning based on GAN (Generative Adversarial Network) and image classification using ResNet50. Through this, a new approach was proposed to obtain more accurate and diverse results by integrating image generation and classification. The generator and discriminator are trained to distinguish generated images from actual images, and image classification is performed using ResNet50. In the experimental results, it was confirmed that the quality of the generated images changes depending on the epoch, and through this, we aim to improve the accuracy of industrial accident prediction. In addition, we would like to present an efficient method to improve the quality of image generation and increase the accuracy of image classification through the combination of GAN and ResNet50.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• ETRI Journal
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• v.36 no.2
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• pp.232-241
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• 2014

A holographic display system with a 22-inch LCD panel is developed to provide a wide viewing angle and large holographic 3D image. It is realized by steering a narrow viewing window resulting from a very large pixel pitch compared to the wave length of the laser light. Point light sources and a lens array make it possible to arbitrarily control the position of the viewing window for a moving observer. The holographic display provides both eyes of the observer with a holographic 3D image using two vertically placed LCD panels and a beam splitter to support the holographic stereogram.

• 한국정보디스플레이학회:학술대회논문집
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• 2005.07b
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• pp.1607-1610
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• 2005

A new configuration of LCD projectors for polarized stereoscopic projection having no light loss in the polarization process is suggested. In the proposed system, two polarizing filters that are employed in the conventional LCD polarized stereoscopic projection system causing additional light loss and image distortion are excluded by taking into account of polarization property of the LCD projector and image processing techniques. From some experimental results by using the Type-1 LCD projectors, light loss of the proposed system occurring in the polarization process is found to be zero.

• Proceedings of the Korea Information Processing Society Conference
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• 2019.05a
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• pp.644-646
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• 2019

테크놀로지의 발달로 영상 이미지는 영상 예술 뿐 만 아니라 다매체에서 디지털이미지로 전달되고 있다. 기존의 영상 이미지는 화면 프레임을 단순히 시간적 움직임을 재현하는 것이나 제한된 화면 효과를 통해 표현되었다. 그러나 테크놀로지의 진보로 인하여 디지털 미디어는 기존 영상 기법을 확장시켜 다양한 표현을 빠르고 쉽고 편리하게 구현이 가능하게 되었다. 이와 같은 기술적 진화는 결과적으로 영상 이미지가 생성하는 이미지와 이미지 사이에 생기는 이질적 간격을 복잡하고 자극적으로 끝임 없이 전달 받게 되는 상황에 놓이게 되었다. 우리에게 디지털 이미지가 생성하는 이미지의 시간성이 움직임을 어떻게 해석할 수 있는지 들뢰즈의 관점에서 살펴보고, 인식적 요소가 실질적으로 어떻게 표현될 수 있는지 실증적인 사례<아디다스 광고 영상>을 중심으로 분석해 보고자 한다.

• Proceedings of the Korean Information Science Society Conference
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• 2010.06a
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• pp.54-55
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• 2010