• KSII Transactions on Internet and Information Systems (TIIS)
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• v.12 no.10
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• pp.4976-4994
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• 2018

The diffusion-based salient object detection methods have shown excellent detection results and more efficient computation in recent years. However, the current diffusion-based salient object detection methods still have disadvantage of detecting the object appearing at the image boundaries and different scales. To address the above mentioned issues, this paper proposes a multi-scale diffusion-based salient object detection algorithm with background and objectness seeds. In specific, the image is firstly over-segmented at several scales. Secondly, the background and objectness saliency of each superpixel is then calculated and fused in each scale. Thirdly, manifold ranking method is chosen to propagate the Bayessian fusion of background and objectness saliency to the whole image. Finally, the pixel-level saliency map is constructed by weighted summation of saliency values under different scales. We evaluate our salient object detection algorithm with other 24 state-of-the-art methods on four public benchmark datasets, i.e., ASD, SED1, SED2 and SOD. The results show that the proposed method performs favorably against 24 state-of-the-art salient object detection approaches in term of popular measures of PR curve and F-measure. And the visual comparison results also show that our method highlights the salient objects more effectively.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.1
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• pp.15-20
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• 2007

This study is aimed to analyze the method of movement expression in the Space-Time of Modern Visual Art. According to the results of analysis. the following is obtained. (1) The still object is perceived by the sense or optical illusion, and its whole image is made through the information processing prodedure. The concept of Space-Time is integrated into the constructivist works by the composition of image through transforming the position of the fundamental geometry and projecting it. (2) The traditional notion that the work of art is still concept of is changed. The movement of observer is caused by inducing the direction and concept of time through the object in three dimensional space.

• Journal of the Korea Computer Industry Society
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• v.9 no.4
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• pp.171-176
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• 2008

Most booking techniques make a reservation without customer's preference on internet. These techniques have booking problems not to improve customer's preference in the service industry. We have tried to apply object-based scheduling technique to performing art reservation. For customer's satisfaction, we have considered customer's preferences in the reservation scheduling. The scheduling technique for performing art reservation proposed in this thesis is based on object-oriented concepts. To consider the over all satisfaction, the events of every object are alloted to the sitting plan board along its priority. To minimize backtracking or not to fail the allotment of events, we have scheduled to rise customer's preference in the scheduling.

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.91-91
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• 2001

• Journal of Science of Art and Design
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• v.2
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.184-189
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• 2008

The change in a society have brought about other changes in the overall areas of culture and art. And have brought the advent of "object", which is a unique cultural aspect. The object became a trend of the world in a culture and art. This trend has satisfied the modern people who have look for new visual stimulation. The object appears well in the spaces restaurants and bars where are reflected in consumer's needs and change of life pattern. The reason is that the spaces restaurants and bars have expressed the differentiated and individualized image with the characteristic of the times. There are three types of the expressed characteristics of objects in interior design. These are visual, functional, and emotional characteristics. But in this study it could not be found that it characterized with one concrete vocabulary and concept. Therefore, it is need to understand the various tendency which expressed characteristics of objects in the spaces restaurants and bars.

• Journal of Fashion Business
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• v.14 no.4
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.160-161
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• 2002

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2013.11a
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• pp.165-168
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• 2013

Image distortions, such as quantization errors, can have a severe negative impact on the performance of computer vision algorithms, and, more specifically, on object detection algorithms. State-of-the-art implementations of the JPEG-2000 image coder commonly allocate the available bits to minimize the Mean-Squared-Error (MSE) distortion between the original image and the resulting compressed image. However, considering that some state-of-the-art object detection methods use the gradient information as the main image feature, an improved object detection performance is expected for JPEG-2000 image coders that allocate the available bits to minimize the distortions on the gradient content. Accordingly, in this work, the Gradient Mean-Squared-Error (GMSE) based JPEG-2000 coder presents an improved object detection performance over the MSE based JPEG-2000 image coder when the object of interest is located at the same spatial location of the image regions with the strongest gradients and also for high bit-rates. For low bit-rates (e.g. 0.07bpp), the GMSE based JPEG-2000 image coder becomes overly selective in choosing the gradients to preserve, and, as a result, there is a greater chance of mismatch between the spatial locations of the gradients that the coder is trying to preserve and the spatial locations of the objects of interest.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.10-17
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• 1997

The lastest art is being characterised by an ever active exchange between different genre. This is a study on the installation aspect in deconstruction architectured and interior design. The progressive and aggressive nature of installatation art embodies uncatagorized genre, the freedom of material application, introduction of the notion of time in space, the reversion of subject and object, the union of art and every experience, understanding of object through deconstruction, enlargement of concept of space, collage-style composition and layer technique. I can conclude that the installation aspect in Tshumi's Parc de la Villette is its call upon the audience to actively participate, the introduction of a coincidental conjunction, its challenge on the conventional idea of park and its flexibility caused by human activity and time. In Hadid's Hong Kong Peak Club the installation aspect is the application of layer technique using four enormous beams horizontally laid out on a man-made moutain. Furthermore, Libeskind's pursuit of the mental in Berlin Museum Extension through the penetration of an invisible line into a void creates a new interpretation of the role of a museum and thus relates itself to installation art. The installation aspect in Himmelblau's Vienna Roof Renovation is the literal deconstruction of the roof of an old building in the old section of Wien and the expression of time and space through the interrelationship between interior and exterior environment by the use of juxtaposition technique. Finally, I note that the installation aspect in Gehry's Santa Monica Residence is the reorganization of cheap material as a form of 'object', that creates spon-taneity, movement as well as flow of time in space and ex-hibit the double-sidedness of the visible world.