• 한국콘텐츠학회논문지
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• 제6권5호
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• pp.76-84
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• 2006

인간은 사물에 대해 그릇된 지각을 할 때가 있는데 이를 착각이라고 하고, 시각을 통해 느끼는 착각을 착시(錯視)라고 한다. 이러한 착시를 대상으로 하는 연구와 실험은 심리학적인 측면에서 뿐만 아니라 회화, 디자인, 애니메이션 등 많은 예술의 장르에서 다른 형태로 발표되어 왔다. 본 논문에서는 회화와 디자인에 많은 영향을 준 옵아트와 착시의 일종인 잔상의 원리를 이용한 애니메이션의 기본개요를 정리하고 색의 명도와 채도 그리고 색의 대비와 밝기에 따라 나타나는 착시를 이용한 예술작품의 원리를 분석, 학생들을 대상으로 그들의 지각의 정도를 설문조사 하였다. 착시를 이용한 예술형태의 연구는 오랜 시간동안 예술의 중심장르로 간주된 회화와는 다른 그리고 애니메이션을 포함한 영상예술에 있어서 또 다른 표현양식의 길이라고 생각한다.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.147-154
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• 2007

This study places a great emphasis on the approaches to the space environment we inhabit, which I hope will contribute to generating a number of creative possibilities. Looking into 'site-specificity' which is characteristic by public art in public space method based on Daniel Buren's works 'in situ', this study analyze the relationship between the public space and works of art as a perspective of public art. The characteristics of his 'in situ' works that intervened works exist as space consisting of serial factors not simply art-object, and they suggest 'site Is a work'. The case study of Daniel Buren's public art project represented the results, the site marketing and serves as a guideline for the future of true Art/Space experiments. This study verifies the need for the arts and the space to work together in order to develop more creative and conceptual approaches to innovation and presentation. This cooperation is the continuation of space design by other means.

• International Journal of Advanced Culture Technology
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• 제7권2호
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• pp.195-200
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• 2019

Media art, which is a combination of media technology and art, is making a lot of progress in combination with AI, IoT and VR. This paper aims to meet people's needs by creating a video that simulates the dance moves of an object that users admire by using media art that features interactive interactions between users and works. The project proposed a universal image synthesis system that minimizes equipment constraints by utilizing a deep running-based Skeleton estimation system and one of the deep-running neural network structures, rather than a Kinect-based Skeleton image. The results of the experiment showed that the images implemented through the deep learning system were successful in generating the same results as the user did when they actually danced through inference and synthesis of motion that they did not actually behave.

• 한국콘텐츠학회논문지
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• 제10권8호
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• pp.198-208
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• 2010

본 논문에서는 국내에서 행해져 온 공공미술 프로젝트들이 어떤 개념과 형태를 가지고 현재까지 이루어졌는지 그 현황을 알아보고, 2000년 이후 국내 시민단체나 관에서 행해진 공공미술 프로젝트들을 통해 앞으로의 공공미술 프로젝트들이 가야 할 방향을 제시하고자 한다. 이를 위해 공공미술프로젝트에 대한 사회적 인식을 높이고 인간의 삶을 변화시키는 실천적 힘과 사회적, 교육적 효과, 현사회의 원활한 흐름과 소통을 가능하게 하는 공공미술을 새롭게 인식하는데 역점을 두고자 한다. 따라서 본 논문은 국내 공공미술프로젝트들을 진단하고 공공미술은 아트(Art) 자체가 아닌 커뮤니티(Community)가 되어야 한다는 방향을 제언함에 있어 의의를 갖는다.

• 조형예술학연구
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• 제5권
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• pp.159-174
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• 2003

'Fantasy', the central notion of this essay, is discussed here more as a new paradigm in order to describe the structure of a work of art than as a stylistic characteristic proper to a specific genre of art. It means the whole situation and experience produced by two connected terms 'corporeal subject - screen'. Roland Barthes explained the 'semiographic painting' by Andre Masson as a field in which happens a certain connexion between the impulse of subject and the image, which views the painting not as a physical object but as a 'cinematic screen' ; painting may be redefined as a dream or a fantasy of the corporeal subject. And such an idea of 'art as fantasy' is closely related to the recent theoretical attempts consisting in abolishing the vision-centered conception of art since Renaissance. In this essay, the notion of fantasy as an aesthetic model is sketched by means of the Freud's notes on the fantasy 'A child is being beaten' and Lyotard's more advanced analyse on its attributes and operations. In Lyotard's analysis, fantasy is defined as a 'bloc' or a 'matrix-figure' featuring simultaneous conversion between the active and the passive, sadism and masochism, and coexistence of imcompossible meanings. In this sense, fantasy may be given to us as an analogical model from which we can outline the aesthetic characteristics of electronic media art involving virtual reality and interactivity.

• Journal of Multimedia Information System
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• 제9권3호
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• pp.183-190
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• 2022

Image-based 3D object detection is one of the important and difficult problems in autonomous driving and robotics, and aims to find and represent the location, dimension and orientation of the object of interest. It generates three dimensional (3D) bounding boxes with only 2D images obtained from cameras, so there is no need for devices that provide accurate depth information such as LiDAR or Radar. Image-based methods can be divided into three main categories: monocular, stereo, and multi-view 3D object detection. In this paper, we investigate the recent state-of-the-art models of the above three categories. In the multi-view 3D object detection, which appeared together with the release of the new benchmark datasets, NuScenes and Waymo, we discuss the differences from the existing monocular and stereo methods. Also, we analyze their performance and discuss the advantages and disadvantages of them. Finally, we conclude the remaining challenges and a future direction in this field.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• 디지털융복합연구
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• 제18권9호
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• pp.373-378
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• 2020

Influencer(사회적 영향력을 가진 사람)의 경제활동이 지속적으로 발전하면서 'influencer'는 다양한 삶의 영역으로 영향력을 미치기 시작했으며, 많은 경제적 수입을 창출하고 있다. 동시에 각 업종도 자신의 'influencer'를 만들고 있다. 예술 전시 업계, 'influencer'로 불리는 예술 전시는 전통 예술 전시의 방식을 바꾸고 있다. 본 논문은 'influencer'로 불리는 예술 전시를 연구 대상으로 한다. 기존의 예술 전시회와는 다른 'influencer' 예술 전시회는 관객에게 전시를 통한 경험을 얻도록 더 많은 관심을 기울이고 있다. 그것은 비록 예술 전시회의 전문성을 감소시키지만, 더 많은 비전문분야의 방문객들이 예술 전시회를 보고 경험하게 한다. 'Influencer' 예술 전시는 상업적인 마케팅이지만 대중이 예술문화에 대한 소비를 늘리면서 관람객들에게 생생한 문화체험을 줄 수 있는 '영향자' 전시가 바로 대중의 문화소비 욕구를 충족시키고 있다. 몰입형 'influencer' 예술 전시회는 예술 전시회의 주요한 전시형태로 자리 잡을 것이며 혁신, 창의성, 예술 전문성 및 상업 마케팅을 통해 'influencer' 예술 전시회는 지속적으로 발전하리라 생각한다.

• 한국컴퓨터산업학회논문지
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• 제10권4호
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• pp.115-120
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• 2009

온라인상에서 대다수 예약시스템들은 고객들의 만족도를 고려하지 않고 예약이 이루어진다. 이러한 예약 시스템들은 현대 사회에서 중요한 고객들의 만족도를 향상시키기 어려운 문제점이 있다. 본 논문에서는 이러한 예약시스템에서 일어날 수 있는 문제들을 복합 스케줄링 기법에 적용하여 예약시스템들의 문제점을 해결하고자 한다. 예약만족도를 고려한 공연예술 예약스케줄링 기법은 객체지향개념을 기반으로 고객선호도와 예약만족도를 고려하여 예약 스케줄링을 수행한다. 예약 스케줄링은 고객들이 가지고 있는 사건들을 주어진 제약들에 만족하도록 목표인 공연좌석 배치도에 배정한다. 고객들의 만족도를 높이기 위해서 전체 고객들에 대한 선호도보드를 참조하여 고객들의 우선순위에 따라서 공연좌석을 배정한다. 또한, 예약만족도를 고려한 공연예술 예약 스케줄링을 모의 실험하여 고객들의 만족도를 살펴보았다.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제12권11호
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• pp.5555-5567
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• 2018

State-of-art instance segmentation networks are successful at generating 2D segmentation mask for region proposals with highest classification score, yet 3D object segmentation task is limited to geocentric embedding or detector of Sliding Shapes. To this end, we propose an amodal 3D instance segmentation network called A3IS-CNN, which extends the detector of Deep Sliding Shapes to amodal 3D instance segmentation by adding a new branch of 3D ConvNet called A3IS-branch. The A3IS-branch which takes 3D amodal ROI as input and 3D semantic instances as output is a fully convolution network(FCN) sharing convolutional layers with existing 3d RPN which takes 3D scene as input and 3D amodal proposals as output. For two branches share computation with each other, our 3D instance segmentation network adds only a small overhead of 0.25 fps to Deep Sliding Shapes, trading off accurate detection and point-to-point segmentation of instances. Experiments show that our 3D instance segmentation network achieves at least 10% to 50% improvement over the state-of-art network in running time, and outperforms the state-of-art 3D detectors by at least 16.1 AP.