• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.111-124
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• 2003

The purpose of this study is to analyze how the women´s fashion with the design elements(silhouette, material, color, detail and trimming) of androgynous image which has appeared on our specialized fashion magazine from 1986 through 2000. As a result of this study I drew the following conclusion. 1. The bon silhouette led the market in the first stage of mid 1980. The wool and leather with the masculine image, cotton and soft material with unisex image were used to express the androgynous image. The dark and mono tone with the masculine image were used a lot in color. In women´s fashion the minimalism style with simple image was expressed escaping from the decoration, in which the detail and trimming was not found as in men´s wear. 2. It showed that more and more feminine image was accepted in the second stage of early 1990. Women´s wear silhouette with the androgynous image has changed from masculine box silhouette boomed in the first stage to hourglass silhouette and slim silhouette. The wool and leather were used a lot as the materials in the first stage but the usage of the cotton with unisex image and soft texture were getting increased. The main colors were the black and the blue but the usage of the white and the red were on the increase showing the range of the use was extending. In the meantime, the detail and trimming were hardly used like in the first stage. 3. In the third stage of the late 1990, the silhouette has changed to slim style. The wool and leather were mainly used as the materials but the cotton and silk were on the increase showing that the materials of the feminine image were used in the women´s fashion with the androgynous image as well as the materials of masculine image. In color, the black and the white of the masculine image were used increasingly by the effect of the minimalism and the usage of the colors were various for the rising frequency of the trend colors usage.

• ETRI Journal
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• v.36 no.3
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• pp.510-513
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• 2014

A Q-band pHEMT image-rejection low-noise amplifier (IR-LNA) is presented using inter-stage tunable resonators. The inter-stage L-C resonators can maximize an image rejection by functioning as inter-stage matching circuits at an operating frequency ($F_{OP}$) and short circuits at an image frequency ($F_{IM}$). In addition, it also brings more wideband image rejection than conventional notch filters. Moreover, tunable varactors in L-C resonators not only compensate for the mismatch of an image frequency induced by the process variation or model error but can also change the image frequency according to a required RF frequency. The implemented pHEMT IR-LNA shows 54.3 dB maximum image rejection ratio (IRR). By changing the varactor bias, the image frequency shifts from 27 GHz to 37 GHz with over 40 dB IRR, a 19.1 dB to 17.6 dB peak gain, and 3.2 dB to 4.3 dB noise figure. To the best of the authors' knowledge, it shows the highest IRR and $F_{IM}/F_{OP}$ of the reported millimeter/quasi-millimeter wave IR-LNAs.

• International Journal of Advanced Culture Technology
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• v.12 no.2
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• pp.16-29
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• 2024

Mogao Grottoes in Dunhuang, China is one of the world cultural heritage, is the largest ancient grottoes art group in the world, and is a natural and cultural place with outstanding universal value for mankind all over the world. Dunhuang music and dance derived from the murals of Mogao Grottoes is an artistic representation of its thousand-year-old glorious history and an indispensable historical material for research. As one of the iconic images of Dunhuang music and dance, the "rebound lute behind the back" dance posture has unique charm value both in the original mural composition and the stage image. This paper analyzes the characters holding pipa in Dunhuang murals by case analysis, comparative research and other relevant research methods, then studies the stage image and posture of "rebound lute behind the back", and finally analyzes the stage works of "rebound lute behind the back". It is concluded that the dance image of "rebound lute behind the back" is a dynamic stage art work gradually formed by artists from the static Dunhuang murals through refining, developing, processing and transforming. This is to revive the image of Dunhuang music and dance murals, to provide reference and reference for the inheritance and development of Dunhuang culture, and then to enhance and enrich the artistic value of excellent traditional Chinese culture and world cultural heritage.

• 제어로봇시스템학회:학술대회논문집
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• 2005.06a
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• pp.2373-2378
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• 2005

An emotion detection algorithm using frontal facial image is presented in this paper. The algorithm is composed of three main stages: image processing stage and facial feature extraction stage, and emotion detection stage. In image processing stage, the face region and facial component is extracted by using fuzzy color filter, virtual face model, and histogram analysis method. The features for emotion detection are extracted from facial component in facial feature extraction stage. In emotion detection stage, the fuzzy classifier is adopted to recognize emotion from extracted features. It is shown by experiment results that the proposed algorithm can detect emotion well.

• ETRI Journal
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• v.39 no.2
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• pp.163-172
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• 2017

A high performance license plate recognition system (LPRS) is proposed in this work. The proposed LPRS is composed of the following three main stages: (i) plate region determination, (ii) character segmentation, and (iii) character recognition. During the plate region determination stage, the image is enhanced by image processing algorithms to increase system performance. The rectangular license plate region is obtained using edge-based image processing methods on the binarized image. With the help of skew correction, the plate region is prepared for the character segmentation stage. Characters are separated from each other using vertical projections on the plate region. Segmented characters are prepared for the character recognition stage by a thinning process. At the character recognition stage, a three-layer feedforward artificial neural network using a backpropagation learning algorithm is constructed and the characters are determined.

• Archives of design research
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• v.18 no.4 s.62
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• pp.147-154
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• 2005

In this paper, I am going to analyze a correlation of Jacques Lacan's Mirror Stage and the process of remediation on image media. It is because the remediation process of various digital media is letting people pass through one time of mirror stage again. Remediation for the Internet of traditional media, conflict with the virtual world and real world, identification that a virtual image changes a practical image is for it to be caused a remediation process by mutual link of various image media. The Narcissism which occurs in the relation a self with a idealized self searches a new own expression and forms a skillful mania culture. Reflexivity of active mania culture same as a Jacques Lacan's Mirror Stage is to be the possibility becoming the feature of media culture of today. However, if digital media culture generation spends extremely wasting time from the image media, these image media generations cannot grow into new future-type man. According to this, it is necessory to have a study on Visual Literacy that it is related to a Jacques Lacan's Mirror Stage.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.8
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• pp.3942-3961
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• 2019

Recently, the models of deep super-resolution networks can successfully learn the non-linear mapping from the low-resolution inputs to high-resolution outputs. However, for large scaling factors, this approach has difficulties in learning the relation of low-resolution to high-resolution images, which lead to the poor restoration. In this paper, we propose Stage Generative Adversarial Networks (Stage-GAN) with semantic maps for image super-resolution (SR) in large scaling factors. We decompose the task of image super-resolution into a novel semantic map based reconstruction and refinement process. In the initial stage, the semantic maps based on the given low-resolution images can be generated by Stage-0 GAN. In the next stage, the generated semantic maps from Stage-0 and corresponding low-resolution images can be used to yield high-resolution images by Stage-1 GAN. In order to remove the reconstruction artifacts and blurs for high-resolution images, Stage-2 GAN based post-processing module is proposed in the last stage, which can reconstruct high-resolution images with photo-realistic details. Extensive experiments and comparisons with other SR methods demonstrate that our proposed method can restore photo-realistic images with visual improvements. For scale factor ${\times}8$, our method performs favorably against other methods in terms of gradients similarity.

• The Transactions of the Korean Institute of Electrical Engineers D
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• v.55 no.3
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• pp.124-130
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• 2006

A wavelet-based image compression system allowing both lossless and lossy image compression is proposed in this paper. The proposed algorithm consists of the two stages. The first stage uses the wavelet packet transform and the quad-tree coding scheme for the lossy compression. In the second stage, the residue image taken between the original image and the lossy reconstruction image is coded for the lossless image compression by using the integer wavelet transform and the context based predictive technique with feedback error. The proposed wavelet-based algorithm, allowing an optional lossless reconstruction of a given image, transmits progressively image materials and chooses an appropriate wavelet filter in each stage. The lossy compression result of the proposed algorithm improves up to the maximum 1 dB PSNR performance of the high frequency image, compared to that of JPEG-2000 algorithm and that of S+P algorithm. In addition, the lossless compression result of the proposed algorithm improves up to the maximum 0.39 compression rates of the high frequency image, compared to that of the existing algorithm.

• Journal of the Korean Institute of Telematics and Electronics B
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• v.33B no.3
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• pp.96-108
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• 1996

In this paper, we propose an object-oriented coding method in low bit-rate channels using block-based motion vectors and residual image compensation. First, we use a 2-stage algorithm for estimating motion parameters. In the first stage, coarse motion parameters are estimated by fitting block-based motion vectors and in the second stage, the estimated motion parametes are refined by the gradient method using an image reconstructed by motion vectors detected in the first stage. Local error of a 6-parameter model is compensted by blockwise motion parameter correction using residual image. Finally, model failure (MF) region is reconstructed by a fractal mapping method. Computer simulation resutls show that the proposed method gives better performance than the conventional ones in terms of th epeak signal to noise ratio (PSNR) and compression ratio (CR).

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.852-866
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• 2003

The purpose of this study is to analyze how the women's fashion with the androgynous image(fashion item, adornment) which has appeared on our specialized fashion magazine from 1986 through 2000. As a result of this study I drew the following conclusion. First, masculine image led the market in the first stage of mid 1980 in a men's wear oriented trend that the woman wear masculine style jacket, pants and blouse. In hair style, the short hair of the masculine image was used habitually but the make-up was tend to be made heavily. The ambivalence of the sex was also showed up by expressing the feminine image on the masculine image using the accessories like necklace, earing and bracelet. Second, unlike the first stage, it showed that more and more feminine image was accepted in the second stage of early 1990. The jacket, blouse and pants were rooted as the basic item in women's fashion. The feminine style of long hair and natural make-up with the androgynous image were increased. Third, in the third stage of the late 1990, the fashion items to the comfortable dress of light weight as the life style pursuits the activity and convenience. The feminine image were appeared naturally with a long hair style and natural make-up with the androgynous image. The remarkable features in the fashion accessories were that boots and low shoes were preferred by the increase of the masculine image shoes and the sneakers were seen a lot by the effect of the sports boom.