• Journal of the Korea Institute of Information and Communication Engineering
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• v.21 no.7
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• pp.1429-1434
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• 2017

In automatic defect detection problem for spectacle lenses, it is important to extract lens area accurately. Many existing detection methods fail to do it due to insufficient minute noise removal. In this paper, we propose an automatic defect detection method using Bresenham algorithm and adaptive binarization strategy. After usual average binarization, we apply Bresenham algorithm that has the power in extracting ellipse shape from image. Then, adaptive binarization strategy is applied to the critical minute noise removal inside the lens area. After noise removal, We can also compute the influence factor of the defect based on the fuzzy logic with two membership functions such as the size of the defect and the distance of the defect from the center of the lens. In experiment, our method successfully extracts defects in 10 out of 12 example images that include CHEMI, MID, HL, HM type lenses.

• Journal of Fashion Business
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• v.5 no.5
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• pp.49-64
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• 2001

Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.205-214
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• 2009

There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.4
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• pp.846-851
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• 2009

This study is to look into the spatial cognition of modern space in the nineteenth century and it is on the purpose of understanding the character of the modem architectural space and of showing the modern architectural space connected with modem society and its everyday life. Especially, fur understanding the spatial cognition of modern space, the Landscape Gardens will be analyzed. The reason for analyzing is that the Landscape Gardens are important theme in the nineteenth century and have great influence on whole European architecture and city. The Landscape Garden produce several modern spaces, that are (1) space of dynamic vision, (2) space of panorama, (3) space of spectacle. These spaces make modem cognition of space and pervade the space of everyday life in the nineteenth century. As a result, the modern spaces and their cognitions are in deep relation to modern society and its everyday life, and unique characters of that spaces are origin of the modem architecture and its space.

• Journal of Korean Ophthalmic Optics Society
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• v.5 no.2
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• pp.127-138
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• 2000

Differential equations and their solutions were formulated to describe the deflection of both temples and front frames and the pressure exerted by them varying parameters such as elastic modulus, thickness, length, width and shape of crosssection. The effect of such parameters on the deflections of both temples and front frames was illustrated by plotting the solutions of the derived equations. Deflection of temples was found to be maximum where the cross section was diamond-shaped and to be minimum with the rectangular cross section while thickness and cross section area of temples remain constant. The effect of parameters consisting of front frame on the deflection of front frames are very similar to those on temples. The central deflection and pressure of front frame initiated by the temple decreases as the length of temple increases. Detailed analysis of stresses at various parts of the temple will help design custom made spectacle frame as well as most comfortable frames.

• Journal of Korean Ophthalmic Optics Society
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• v.13 no.4
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• pp.103-107
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• 2008

Purpose: This research measured the near addition powers of presbyopia in wearing the near spectacle for the first time. Methods: We evaluated age, sex, working group, spherical power and cylindrical power and measured the power of refractive error performed the both eyes (310 eyes) of 155 subjects subjectively noncycloplegic and power of addition using the cross cylinder method. Results: There were measured the near addition powers in the range of +0.75D ~ +1.75D. In case of the average addition, they were measured with +1.06D in subjects under 43 years of age, +1.08D in 44 to 46 years, +1.23D in 47 to 49 years and +1.46D in over 50 years of age. The average age in subjects was 47.6 years old and 74 male, 81 female, 71 near sighted working group and 83 far sighted working group. Conclusions: Near addition was correlated with age, working group and cylindrical power (P<0.05, P<0.05, P<0.05).

• Cross-Cultural Studies
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• v.33
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• pp.95-120
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• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• Journal of Korean Ophthalmic Optics Society
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• v.15 no.1
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• pp.1-7
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• 2010

Purpose: To plan and improve consumers' satisfaction by analyzing consumers' purchasing behavior of spectacles. Also this will show the need of improvement in reliance of an optician. Methods: A total of 307 people (10 to 60 years) participated in individual questionnaires. Questionnaires comprised of general characteristic of surveyed people, purchasing spectacles behavior, satisfaction after purchasing spectacles, reliability of optician, and improvement points of optician. Results: Most important points in selecting the product were the design and the price of the spectacles. 142 people (46.3%) replied "average" and 140 people (45.6%) replied "satisfying" out of maximum point of satisfaction level which was 5 points. 72.3% of people have regularly visiting optical shop due to the high accessibility, after-sales care, and courteous optician. On the contrary, 27.7% replied "never visit same optician shop again" because of the low accessibility, minimal range of products, and high price. Data showed that people had high re liability about the opticians' knowledge of product, and their technique of eye refraction. Data revealed that people did not show high satisfaction about opticians' knowledge of ophthalmology, and price of products. Most important improvement points were accurate spectacle prescription by Opticians rating 42% of reply. Factors most considered during spectacle selection among the 10 to 20 age group were design by 34.8% and price by 10.1%. Among the 40 to 50 age group, most considered factors were design by 14% and spectacle frame material by 10.1%. Conclusions: Satisfaction rate of purchasing spectacles for the total participant group was 4.2 average grades. Reliability of opticians' eye refraction result and prescription was 50.5%. However consumers wanted to obtain more accurate eye refraction result and prescription with more comprehensive explanations. Also, consumers wanted opticians to be sensitive and have appreciative eye in select spectacles for customers, and to offer precise spectacle dispensing services and courteous after-sales care.

• Journal of Korean Ophthalmic Optics Society
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• v.15 no.1
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• pp.25-30
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• 2010

Purpose: This study was conducted to estimate the changes of corrected diopter and corrected visual acuity with the change in vertex distance. Also we aimed to provide basic data for refraction test. Methods: Using the trial lens, we measured the corrected diopter and corrected visual acuity after performing binocular balance test. We measured the changes of corrected diopter and corrected visual acuity in change of vertex distance. We analyzed statistical significance and relations between vertex distance and corrected diopter and corrected visual acuity. Results: There was no difference in corrected diopter with the change of vertex distance within -1.00D, but the corrected diopter increased with it over - 1.25D. In particular, the change of diopter was largest when the vertex distance increased 15 mm. At over 11.00D, there was large changes of diopter with the changes of vertex distance at 5 mm, 10 mm and 15 mm. On correlation analysis between the vertex distance and the corrected diopter, there was strong correlation (r=0.999 at 5 mm increase of vertex distance, r=0.982 at 10 mm increase and r=0.957 at 15 mm increase) and also there was significant (p<0.01). At the change of visual acuity in increased of vertex distance, the range of a decrease in visual acuity was large when the changes of vertex distance was largest. On correlation analysis between the vertex distance and the corrected visual acuity, there was strong correlation (r=0.969 at 5 mm increase of vertex distance, r=0.985 at 10 mm increase and r=0.994 at 15 mm increase) and also there was significant (p<0.01). Conclusions: The vertex distance was very important at the refraction test and at wearing spectacle. On correlation analysis between the vertex distance and the corrected diopter, and the corrected visual acuity, there was strong correlation and statistically significant. Therefore, the vertex distance should be kept at the refraction using trial lens, and the best fitting was made not to slipping forward, and so we suggested regular refitting of spectacle and the managing method of spectacle were educated to the spectacle wearers.