• 대한전자공학회:학술대회논문집
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• 대한전자공학회 2003년도 하계종합학술대회 논문집 Ⅲ
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• pp.1283-1286
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• 2003

Human can update the memory with new information not forgetting acquired information in the memory. ART(Adaptive Resonance Theory) does not need to change all information. The methodology of ART is followed. The ART updates the memory with the new information that is unknown if it is similar with the memorized information. On the other hand, if it is unknown information the ART adds it to the memory not updating the memory with the new one. This paper shows that ART is able to classify sensory information of a certain object. When ART receives new information of the object as an input, it searches for the nearest thing among the acquired information in the memory. If it is revealed that new information of the object has similarity with the acquired object, the model is updated to reflect new information to the memory. When new object does not have similarity with the acquired object, the model register the object into new memory

• 정보처리학회논문지A
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• 제10A권4호
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• pp.295-304
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• 2003

능동객체는 스레드와 같은 독립적인 실행단위로서 객체가 생성될 때 CPU의 스케줄을 받아 실행되어지는 개체이다. 본 논문에서는 이러한 능동객체론 정의하고, 능동객체의 생성 및 실행을 제어하는 능동객체 실행시간 지원시스템(Active object Run Time support systems ; ART)을 제시하였다. 또한 ART는 분산 환경에서 사용자들에게 위치 투명성이 보장되고, 편리한 방식으로 분산 프로그래밍을 할 수 있도록 능동객체 사이에 메소드 호출을 지원할 수 있고, 이를 위한 통신 기법을 설계하고 구현하였다. 그리고 본 논문에서 제안하는 ART를 임베디드 시스템과 같이 시스템 자원이 제한되어 있고, 분산 환경으로 구성되어 있는 시스템에 적용하여 구현하였다.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2003년도 봄 학술발표대회논문집
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• pp.110-111
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• 2003

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.45-50
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• 2001

The modern architecture has to find more essential configuration order rather than the spatial order in the reasonable feint. In other side, paintings and sculptures as a part of the building in the past become a pure art and develop an abstract art. Also they make many affects on the modern architecture as a paradigm. New material has brought to the new forms and the changes of the overall culture and art. One of the new changes has made the object that is one of unique culture symptoms in the 20C and the general part of the modem art includes it. The wall that limits the inside area through mass and volume before the recent times had treated as the object to express the special mean and character. However, the wall has developed as a component that consists of the internal space through surface and volume rather than mass or structure since the recent times. Now, I survey the objective tendency of the wall in the modem interior architecture mainly focused on the relation between object in the abstract art and wall inside.

• 조형예술학연구
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• 제12권
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• 디지털융복합연구
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• 제19권4호
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• pp.227-233
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• 2021

20세기 이후 산업화한 소비사회에서 생산된 기성품들은 '파운드 오브제 (Found object)'라는 새로운 소재로 미술작가들에게 채택되어 작품 속에서 넓은 의미로 재해석 되고 있다. 이를 활용해서 새로운 의미를 부여하는 방법은 표현양식뿐만 아니라 개념적으로도 확장된 새로운 패러다임을 생성한다. 현대미술에서 최초로 파운드 오브제가 사용된 1912년 파블로 피카소(Pablo Picasso)의 이후 다다이즘과 초현실주의, 그리고 팝아트를 통해서 파운드 오브제의 전개를 파악하고 20세기 후반 파운드 오브제의 표현에 대해서 알아본다. 본 연구에서는 파운드 오브제가 작품에서 혼합된 방식에 따라서 '가공되지 않은 오브제', '변용된 오브제', 그리고 '차용된 오브제', 등 3가지 유형으로 구분하여 작가와 작품을 분석한다. 본 연구를 통해서 파운드 오브제를 융복합한 작품은 대상을 물질적으로 발전시킬 뿐만 아니라 미술의 전통적 규범에서 벗어나 자유로운 개념의 미술을 실천할 수 있도록 한다는 점에 주목한다.

• 한국멀티미디어학회논문지
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• 제20권6호
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• pp.893-910
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• 2017

In this paper, we propose a simple online multiple object (human) tracking method, LKDeep (Lucas-Kanade feature and Detection based Simple Online Multiple Object Tracker), which can run in fast online enough on CPU core only with acceptable tracking performance for embedded surveillance purpose. The proposed LKDeep is a pragmatic hybrid approach which tracks multiple objects (humans) mainly based on LK features but is compensated by detection on periodic times or on necessity times. Compared to other state-of-the-art multiple object tracking methods based on 'Tracking-By-Detection (TBD)' approach, the proposed LKDeep is faster since it does not have to detect object on every frame and it utilizes simple association rule, but it shows a good object tracking performance. Through experiments in comparison with other multiple object tracking (MOT) methods using the public DPM detector among online state-of-the-art MOT methods reported in MOT challenge [1], it is shown that the proposed simple online MOT method, LKDeep runs faster but with good tracking performance for surveillance purpose. It is further observed through single object tracking (SOT) visual tracker benchmark experiment [2] that LKDeep with an optimized deep learning detector can run in online fast with comparable tracking performance to other state-of-the-art SOT methods.

• Current Optics and Photonics
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• 제6권5호
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• pp.463-472
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• 2022

At certain wavelengths, single-pixel imaging is considered to be a solution that can achieve high quality imaging and also reduce costs. However, achieving imaging of complex scenes is an overhead-intensive process for single-pixel imaging systems, so low efficiency and high consumption are the biggest obstacles to their practical application. Improving efficiency to reduce overhead is the solution to this problem. Salient object detection is usually used as a pre-processing step in computer vision tasks, mimicking human functions in complex natural scenes, to reduce overhead and improve efficiency by focusing on regions with a large amount of information. Therefore, in this paper, we explore the implementation of salient object detection based on single-pixel imaging after a single pixel, and propose a scheme to reconstruct images based on Fourier bases and use U²Net models for salient object detection.

• 조형예술학연구
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• 제4권
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• pp.67-90
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• 2002

What is the semantic function of visual image in Contemporary art? This article proposes that representation is semantically still important in post-modernism as well as in modernism. The semantic function of representation has been changed by keeping pace with times. In modernism the 'outer representation' changed to 'inner representation', and in postmodernism the 'inner representation' changed to 'metaphorical representation'. The 'outer representation' means that image indicates a certain object or subject as the classical realism. In this case, the meaning of image is subordinate to an object, and a one-to-one correspond existed between the image and the object. Because this 'outer representation' is focused on an object but subject's intention, the indicative function of meaning is definite and singular. The 'inner representation' means that image exposes the fundamentals or process of an object. In this case, the meaning of image resolves itself into an absolute fundamental, and one-to-many correspond existed between the image and the object. Because this 'inner representation' is focused on essence and substance but an external form, the indicative function of meaning is inclusive and general. The 'metaphorical representation' means that image critically relates social constraint and condition as metaphor and allegory. In this case, the meaning of image is not subordinate to an object and a subject, and the image and the object indicate interactively. Because this 'metaphorical representation' is focused on interaction between subject, object, and interpreter, the indicative function of meaning is differant and ecological. This article focused on the representation because I believe that continuous thinking of totality can be opened by cognitive mapping, even though we never understand the world totally in the chaotic post modern age.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.203-208
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• 2008

Installation art in 20th century shows an expanded trend as a result of material, time, or spatial expansion of subject, therefore subjects could be either materials or non-materials. This trend says that three elements-objet, space, and spectator-is inseparable essence of installation art. Nowadays, the borderline between installation art and everyday human life is getting indistinctive, and both Installation art and human life are becoming a part of another. By adapting the flexibility of installation art into the interior space, more interaction could happen, therefore, people will recognize spatial and visual character of Interior space as a visually satisfying Installed object. The main goal of this study is to understand changing of spatial composition in consequence of expressional variety as a result of dispersion of spatial elements. Especially, this study gives a fundamental ideas about private character of installations art in commercial spaces and expressional character of modern installations.