• 대한원격탐사학회:학술대회논문집
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• 대한원격탐사학회 2002년도 Proceedings of International Symposium on Remote Sensing
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• pp.111-116
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• 2002

The types of service using location Information are being various and extending it's domain as wireless internet technology is developing and it's application part is widespread, so it is prospected that LBS (Location-Based Services) will be killer application in wireless internet services. This location information is basic and high value-added information, and this information services make prior GIS (Geography Information System) to be useful to anybody. The acquisition of this location information from moving object is very important part for these LBS. After this, when LBS is familiar to everybody, we can predict that LBS system load is so heavy for the acquisition of so many subscribers and vehicles. Moving object database (MODB) system manages objects like subscribes and vehicles that are moving and have telecommunication terminal checked one's location. MODB is consists of 4 part, moving object location acquisition part, moving object location storage part, moving object query processing part, and moving object application p art. In this MODB system, acquisition of moving object location part must provide guarantee location information as well as reduce telecommunication overhead. In this paper, we study of problems in acquisition a huge number o f moving objects location and design some acquisition strategies to reduce telecommunication overhead. And after implementation these strategies, we estimate performance of this system and quality of information.

• 디지털산업정보학회논문지
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• 제12권4호
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• pp.1-12
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• 2016

Digital imaging technology has developed into a state-of-the-art IT convergence, composite industry beyond the limits of the multimedia industry, especially in the field of smart object recognition, face - Application developed various techniques have been actively studied in conjunction with the phone. Recently, face recognition technology through the object recognition technology and evolved into intelligent video detection recognition technology, image recognition technology object detection recognition process applies to skills through is applied to the IP camera, the image object recognition technology with face recognition and active research have. In this paper, we first propose the necessary technical elements of the human factor technology trends and look at the human object recognition based spFACS (Smile Progress Facial Action Coding System) for detecting smiles study plan of the image recognition technology recognizes objects. Study scheme 1). ASM algorithm. By suggesting ways to effectively evaluate psychological research skills through the image object 2). By applying the result via the face recognition object to the tooth area it is detected in accordance with the recognized facial expression recognition of a person demonstrated the effect of extracting the feature points.

• 지능정보연구
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• 제9권3호
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• pp.99-115
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• 2003

본 논문은 지식 기반 객체지 향 공간 데이터베이스시스템 KOBOS를 제안한다. 객체지향 공간 데이터베이스 시스템의 데이터 모델링과 근접 질의답변에 지식기반 접근법을 도입한다. 공간객체와 근접 공간 연산자를 다루기 위해 다음과 같은 세 단계 객체지향 데이터 모델을 제안하고 있다: (1) 공간 형상 모델; (2) 공간 객체 모델: (3) 내부 기술 모델. 근접 공간 연산자의 범위는 공간 타입 추상 계층으로 알 수 있다. 또한 객체지향 공간 질의어인 SOQL을 제안한다. SOQL은 공간 객체의 다양한 출력과 공간 및 비 공간 객체의 검색을 수행할 수 있는 통합 기능을 제공해준다. 효율적인 혼합 질의 처리를 위하여, 하향 공간 질의 처리 방법을 이용하여 처리해 준다.

• 대한가정학회지
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• 제38권8호
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• pp.13-27
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• 2000

The background of single animal figures was originated from those northern mounted nomadic groups, which was Scythe style Culture. The art of the nomads working in the Scythian idiom was small in size and essentially decorative in intention, yet practically every object which can be associated with any unit in this group of people possesses many of the attributes essential to a real work of art. Clarity of conception, purity of form, co-ordination of rhythm and balance, and not least, an understanding and respect for the material employed were triumphantly blended by the Eurasian nomads to produce a distinctive style. In Scythian art the multitude of animal representations well illustrates the reoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. Commonly depicted are: stags and deer, lions or other large cats, eagles, birds heads (perhaps of ravens), griffins, snakes, hares, fish, goats, rams, boars, moose (elk), yak, sheep and bears. The occasional exception to the wild animal rule is domesticated horses-important because the Scythians were horse bleeders and their whole culture revolved around their dependence on the horse. The nomads had little reason to create object in honour of gods or men, but they had an instinct for beauty and the wish to surround themselves with the animal forms in which they had come to delight The Scytians tried to combine in a single rendering all the salient points of the animal they were delineating. They archived considerable success in the difficult task of showing in a single image the various and often incompatible poses assumed by a single animal in the course of its life. Zoomorphic motifs were used not simple for decorative effect, but to trim the object into amulets, with magical power to assist in hunting, and to protect the owner from harm.

• 제어로봇시스템학회논문지
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• 제8권1호
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• pp.21-27
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• 2002

Inspection and shape measurement of three-dimensional objects are widely needed in industries for quality monitoring and control. A number of visual or optical technologies have been successfully applied to measure three-dimensional surfaces. However, those conventional visual or optical methods have inherent shortcomings such as occlusion and variant surface reflection. X-ray vision system can be a good solution to these conventional problems, since we can extract the volume information including both the surface geometry and the inner structure of any objects. In the x-ray system, the surface condition of an object, whether it is lambertian or specular, does not affect the inherent characteristics of its x-ray images. In this paper, we propose a three-dimensional x-ray imaging method to reconstruct a three dimensional structure of an object out of two dimensional x-ray image sets. To achieve this by the proposed method, two or more x-ray images projected from different views are needed. Once these images are acquired, the simultaneous algebraic reconstruction technique(SART) is usually utilized. Since the existing SART algorithms have several shortcomings such as low performance in convergence and different convergence within the reconstruction volume of interest, an advanced SART algorithm named as USART(uniform SART) is proposed to avoid such shortcomings and improve the reconstruction performance. Because, each voxel within the volume is equally weighted to update instantaneous value of its internal density, it can achieve uniform convergence property of the reconstructed volume. The algorithm is simulated on various shapes of objects such as a pyramid, a hemisphere and a BGA model. Based on simulation results the performance of the proposed method is compared with that of the conventional SART method.

• International Journal of Internet, Broadcasting and Communication
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• 제15권1호
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• pp.126-139
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• 2023

At present, naked-eye 3D appears more and more commonly on the facades of urban buildings. It brings an incredible visual experience to the audience by simulating the natural 3D 3D space effect. At the same time, it also creates enormous commercial value for city publicity and commercial advertisements. There is much research on naked-eye 3D visual effects, but for right-angle LED screens. Right-angle LED screen's brand-new expression method that has only become popular in recent years, how to convey a realistic naked-eye 3D effect through two LED screens combined at right angles has become a problem worth exploring. To explore the whole design ideas and production process of the naked-eye 3D impact of the right-angle LED screen, this paper is a preliminary study aimed at understanding the performance principle and expression features. Before the case analysis, first, understand the standard virtual 3D space construction techniques. Combining it with the optical illusion phenomenon, according to the expression principle of the naked-eye 3D effect of the right-angle LED screen, it can be summarized into seven expressions: Shadow, Color contrast, Background structure line, Magnify object, Object out of bounds, Object floating, Fusion of picture and background. By analyzing the optical illusion phenomenon used in the case, we summarized the main performance characteristics of the naked eye 3D effect. The emergence of right-angle LED screens breaks the limitation of a single plane of optical illusion art, perfectly combines building facades with naked-eye 3D visual effects, and provides designers with a brand-new creative platform. Understanding its production principles and main expressive features can help designers enter this innovative platform better.

• 한국의류산업학회지
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• 제16권1호
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• pp.66-78
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• 2014

The purpose of this study is to illuminate the location of fashion in contemporary society and to suggest a direction for fashion criticism in aesthetic$\hat{u}$cultural perspective. For this, literature researches about some of art criticism and fashion criticism theories and cultural studies related to fashion are performed. In this study, fashion criticism is defined as a linguistic analysis and interpretation about a variety of discursive networks around fashion as well as an aesthetic analysis of it. Considering this definition, an analytical framework for the contemporary fashion criticism combines Feldman's and Carney's models with Crane & Bovone's and Entwistle's sociological studies for aesthetic and cultural perspectives. At first, its aesthetic perspective shows 'Description'-'Descriptive formative features', 'Analysis'-'Locate the style' and 'Aesthetic value', 'Interpretation'- 'Interpretation of the fashion object' and 'Socio-cultural interpretation', 'Judgment'-'Critical judgment'. Then, its cultural perspective especially emphasizes 'Socio-cultural interpretation' of the 6 steps above. Socio-cultural interpretation gets tangled with the network of various cultural agents within the fashion system, producers/designers, retailers/suppliers, media/editors, consumers/spectators, and so on. In the course of the fashion system 5 analytical methods about the fashion object can be suggested and they are as follows: Analyses of texts, discourses and symbols of a fashion object, Analyses of fashion systems which produces symbolic values, Analyses of the communication of symbolic values and the disseminating processes through the media, Analyses of the attribution of symbolic values to a fashion object by consumers, and Cross-national studies of symbolic values expressed in a fashion object.

• 미술이론과 현장
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• 제10호
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

• Journal of information and communication convergence engineering
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• 제8권5호
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• pp.595-601
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• 2010

The strategy through visual sense is one of the ways that subject builds the outside world and communicates. The visual sense seems higher level of dependence than the other senses and contributes to intercommunication. For this reason, the desire of image dates back to primitive art and visual image(visual media and visual culture) has dialectically developed in the history of mankind. Visual subject, based on perspective of Renaissance, was moved from God to human beings. Andre Bazin's 'la genese automatique' through technical art has epochally changed the paradigm of visual art and visual culture. From primitive art to photo and film, the image, based on visual sense, has reflected human wish, appealed visual desire and led to evolution of image. In the late 20 century, without dialectical evolution of technology and culture, rapidly progressive digital image has changed social and cultural implication over rational strategy of production and distribution and it strengthened authority of image through visual approach of endless desire. The goal of this study is to analyze the value change of digital image developing a new Renaissance through production, reading, communication, and implication of evolution due to digitalized image, which has evolved as object and tool of desire.

• 한국실내디자인학회논문집
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• 제14권4호
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• pp.35-44
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• 2005

Light is the essential and symbolical entity In architecture. But the meaning of light has been changed as time has passed, and today it has plural meaning and more sophisticated role. Since 1960's 'Light and Space Art' has accomplished many successful experiments through light and space as artistic media, and they have changed the understanding of light from the electrical source to the phenomenological energy and sensual medium. And also the role of space in their works takes the more human-oriented field constituted from the coherent relationship of internal parts including human being. Light could be 'an object' and 'material' under 'Light and Space Art' artists' persistent efforts. They revealed another realm of spatial experiences such as extension-the metaphysical space, heterogeneous relationship-the complex space, and dematerialization-the illusionary space. The secondary and inclusive effects by 'Light and Space Art' can be found In the phenomenological architecture, the post-modern architecture, and the immaterial tendency of contemporary architecture. However, the more close connections between 'Light and Space Art' and the specific architectures are still left as a portion aside for the further research.