• Journal of Korea Multimedia Society
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• v.21 no.1
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• pp.51-60
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• 2018

We present a real-time interactive particle-art with human motion based on computer vision techniques. We used computer vision techniques to reduce the number of equipments that required for media art appreciations. We analyze pros and cons of various computer vision methods that can adapted to interactive digital media art. In our system, background subtraction is applied to search an audience. The audience image is changed into particles with grid cells. Optical flow is used to detect the motion of the audience and create particle effects. Also we define a virtual button for interaction. This paper introduces a series of computer vision modules to build the interactive digital media art contents which can be easily configurated with a camera sensor.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.95-103
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• 2021

I began to produce a series of works based upon the plastic element as a visual transmission -such as points, lines, sides, volumes and cubics, movements with in time, and space- which appeared in the optical art, that emerged in the 1950s and the early 1960. My works, which portray the natural scenes such as mountains, trees, and flowers that are commonly seen around us, are completed by drawing, erasing, filling with many points and overlapping. My works also ignore the scenography. All artistic activities must be based upon humanistic values and ultimately need to work for human being. The work with application of opt art did not use the perspective, but diverse colors. The work with application of opt art did not use the perspective, but diverse colors. The work tried to express more diverse impression rather than the emotion from the familiar perspective. We hope, therefore, my works give pleasure and satisfaction to these who come to see them.

• Journal of the Korean Society of Costume
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• v.38
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• pp.51-72
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• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• Current Optics and Photonics
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• v.6 no.5
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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.

• Current Optics and Photonics
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• v.5 no.6
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• pp.686-698
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• 2021

A camouflaged encryption scheme based on Hadamard matrix and ghost imaging is proposed. In the process of the encryption, an orthogonal matrix is used as the projection pattern of ghost imaging to improve the definition of the reconstructed images. The ciphertext of the secret image is constrained to the camouflaged image. The key of the camouflaged image is obtained by the method of sparse decomposition by principal component orthogonal basis and the constrained ciphertext. The information of the secret image is hidden into the information of the camouflaged image which can improve the security of the system. In the decryption process, the authorized user needs to extract the key of the secret image according to the obtained random sequences. The real encrypted information can be obtained. Otherwise, the obtained image is the camouflaged image. In order to verify the feasibility, security and robustness of the encryption system, binary images and gray-scale images are selected for simulation and experiment. The results show that the proposed encryption system simplifies the calculation process, and also improves the definition of the reconstructed images and the security of the encryption system.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.1
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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.

• Current Optics and Photonics
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• v.7 no.6
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• pp.655-664
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• 2023

Ghost imaging (GI) technology is developing rapidly, but there are inevitably some limitations such as the influence of atmospheric turbulence. In this paper, we study a ghost imaging system in atmospheric turbulence and use a gamma-gamma (GG) model to simulate the medium to strong range of turbulence distribution. With a compressed sensing (CS) algorithm and generative adversarial network (GAN), the image can be restored well. We analyze the performance of correlation imaging, the influence of atmospheric turbulence and the restoration algorithm's effects. The restored image's peak signal-to-noise ratio (PSNR) and structural similarity index map (SSIM) increased to 21.9 dB and 0.67 dB, respectively. This proves that deep learning (DL) methods can restore a distorted image well, and it has specific significance for computational imaging in noisy and fuzzy environments.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.1
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• pp.197-206
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• 1996

We can see the relationship between Fashion creation and Art through the characteristic of clothings at Fashion Collections such as the round, abstractive motive, optical effect, symetric line, etc. This relationship between Fashion creation and Art brings the affective image and the aesthetic shock to open the door to imagination. Art-related people such as artist, fashion designer share the creativeness, new vision and artistic fever. We can see the link and co- work between art and fashion creation all over the 20th centary. Specially it reached its peak in 1960s when Paco Rabanne, Andra Curreges, Pierre Cardin and Yves Saint-Laurent introduced their works. This study includes not only the influence of the art but also the relationship between the art and fashion creation to analyze the way and the reason of the influence of the art in terms of the form, technique, material and process. Doing this, 1 try to ask and answer the question "through what form and at what situation fashion creation can be considered as an art." The study reaches the conclusion that fashion designer is the creator, technician and transferer if the the art.e the art.

• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Proceedings of the Optical Society of Korea Conference
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• 2000.02a
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• pp.182-187
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• 2000

빛은 공간상에서 전파되는 특성상 전자기파(electromagnetic wave)로 규정될 수 있다. 빛의 파동성은 여러 형태의 간섭을 유발한다. 이중 정밀 길이측정에는 광위상간섭(phase measuring interferometry)의 원리가 대표적으로 이용된다. 그림1은 광위상간섭의 기본원리를 Michelson 광학계를 이용하여 설명하고 있다. 하나의 동일한 광원으로부터 출발된 광속(optical beam)은 광분할기(beam splitter)에 의해 두 개로 별도 광속으로 분활 된다. (중략)