• Journal of KIISE:Computer Systems and Theory
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• v.33 no.6
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• pp.354-362
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• 2006

This paper suggests a method for generating high qualify stereo video avatar to support visual communication in a CAVE$^{TM}$-like system. In such a system because of frequent change of light projected onto screens around user, it is not easy to extract user silhouette robustly, which is an essential step to generate a video avatar. In this study, we use an infrared reflective image acquired by a grayscale camera with a longpass filter so that the change of visible light on a screen is blocked to extract robust user silhouette. In addition, using two color cameras positioned at a distance of a binocular disparity of human eyes, we acquire two stereo images of the user for fast generation and stereoscopic display of a high quality video avatar without 3D reconstruction. We also suggest a fitting algorithm of a silhouette mask on an infrared reflective image into an acquired color image to remove background. Generated stereo images of a video avatar are texture mapped into a plane in virtual world and can be displayed in stereoscopic using frame sequential stereo method. Suggested method have advantages that it generates high quality video avatar taster than 3D approach and it gives stereoscopic feeling to a user 2D based approach can not provide.

• KEPCO Journal on Electric Power and Energy
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• v.5 no.4
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• pp.257-262
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• 2019

Lattice steel towers for overhead transmission lines have been replaced by tubular steel poles due to the visual impact of large and complex shape of truss type. Demand for tubular steel poles consisting of a single frame member continues to grow because of its advantages such as visual minimization, architectural appeal and minimal site consumptions. However, there are some constraints on the transportation and construction. As the diameter of tower base has been enlarged, it may exceed minimum height limit required to pass the tunnel in case of land transportation. Also, in a narrow place where it is not easy to secure the installation areas such as mountainous places, there might be some areas wherein it must secure a wide working space so that large vehicles and working cranes will be allowed to enter. In this paper, we presented a vertical separated tubular steel pole, which is a new type of support that can be implemented for general purpose such as mountainous areas or narrow areas to improve the issues raised by breaking away from the conventional design and fabrication methods. Technical approaches for overcoming the limit of the cross-sectional size is to separate and modularize the cross-section of the tubular steel pole designed with a size that cannot be carried or assembled, and to lighten it with a weight capable of being transported and assembled in a narrow space or mountainous area. As a result of this research, it will be possible to enter small and medium sized vehicles in locations where it is restricted to transport by large-sized vehicles. In the case of mountainous areas, it will be possible to divide it into a weight capable of being carried by a helicopter and it will be easy to adjust and fabricate it with individual modules. Furthermore, in order to break away from the traditional construction method, we proposed the equipment that can be applied to the assembly of Tubular Steel Pole without using a large crane in locations where there is no accessible road or in locations wherein large cranes cannot enter. In particular, this paper shows the movable assembling equipment and some methods that are specialized for vertical separated tubular steel pole consisting of members with reduced weight. The proposed assembly equipment is a device for assembling the body of the Tubular Steel Poles. It will be installed inside the support and the modules can be lifted by using the support itself.

• Journal of Korean Ophthalmic Optics Society
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• v.9 no.1
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• pp.19-27
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• 2004

The purpose of this study is to survey spectacle wearers's way of thinking through the questionaire and to investigate their wearing conditions through fitting conditions, the pantascopic angle, vertex distance, the coincidence of vertical and horizontal distance between optical center of the lens and pupillary distance of the eye in random selected 150 ametropic corrective wearers in the age of 17 to 19. The results are as follows : 1. The most popular causes of physical complaints in the ex-wearing spectacle are frame pressure(34.0%), slipping forward(30.0%) and most popular visual complaints are blur vision(30.0%) and asthenopia(20.0%). 2. The most common physical or visual complaints in the present wearing spectacle are slipping forward(30.0%), pressure (50.0%), color(10.0%). 3. Myopic glasses wearers accounted for 56.7% of the subjects, the others were compound myopic astigmatism. In 60% of the subjects' binocular diopter did not coincide. 4. In the pantascopic angle of the both eyes coincide in 66.7% of the subjects. The average of pantascopic angle is $10.07^{\circ}$. 5. In the vertex distance of the both eyes coincided in 65.3% of the subjects. the he average of vertex distance is 13.6 mm. 6. Among 150 eyes with monocular, the vertical distance between optical center of the lens and pupillary distance of the eye is within the RAL-RG 915 that is tolerance of ophthalmic dispensing in German Standards in 82 eyes (54.6%). 7. Among 150 eyes with monocular, the horizontal distance between optical center of the lens and pupillary distance of the eye is within the RAL-RG915 that is tolerance of ophthalmic dispensing in German Standards in 86 eyes(57.3 %).

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• Journal of the Institute of Electronics and Information Engineers
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• v.50 no.10
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• pp.150-161
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• 2013

This paper presents a new system which produces high resolution 3D contents by capturing multiview images of an object using multiple cameras, and estimating geometric and texture information of the object from the captured images. Even though a variety of multiview image-based 3D reconstruction systems have been proposed, it was difficult to generate high resolution 3D contents because multiview image-based 3D reconstruction requires a large amount of memory and computation. In order to reduce computational complexity and memory size for 3D reconstruction, the proposed system predetermines the regions in input images where an object can exist to extract object boundaries fast. And for fast computation of a visual hull, the system represents silhouettes and 3D-2D projection/back-projection relations by chain codes and 1D homographies, respectively. The geometric data of the reconstructed object is compactly represented by a 3D segment-based data format which is called DoCube, and the 3D object is finally reconstructed after 3D mesh generation and texture mapping are performed. Experimental results show that the proposed system produces 3D object contents of $800{\times}800{\times}800$ resolution with a rate of 2.2 seconds per frame.

• Journal of Korean Ophthalmic Optics Society
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• v.13 no.4
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• pp.37-42
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• 2008

Purpose: The objective of the study: At present, the spectacles, with its use as a medical aids or a fashion trimming, are recognized as one of the living necessities which can't be separated from human body. One of the features of spectacles is that it must be worn on any part of human body. Such a feature has to be satisfied under the condition an user keeps feeling comfortable with the rim of spectacles worn. In order to ensure meeting this condition, a criterion has to be arranged for the design of the rim of spectacles. In order to manufacture a rim of spectacles which allows an user to secure a comfortable range of vision as well as enhancing the feeling when to be worn, a manufacturing standard has to be established based on optical science. No precise rim of spectacles could be made from the manufacturing method depending on the manufacturer's sensibility. When the rim of spectacles was manufactured according to the incorrect standards, it may cause an user such a fatal result as myopia, hyperopia or astigmatism. Methods: This study focuses on providing a detailed explanation about the design of rim, which is the most important element during designing a rim of spectacles, making use of the optical elements of spectacles, and helping the manufacturers and the people who work in the spectacles-related business understand and recognize what is correct and exact and then leading them to establish a standard in respect to the manufacture and selection of spectacles. Results, Conclusions: Considering the fact there happen many errors in relation with the names of rim stipulated in the provisions of International Standards Organization (ISO), due to wrong interpretation by some of the rim manufacturers, the right interpretation should be given about the bridge which is directly connected to rim, so that the rims of spectacles manufactured in Korea could keep a favorable position in competing with the foreign products of same kinds.

• Journal of Broadcast Engineering
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• v.16 no.3
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• pp.394-402
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• 2011

We introduce the standard content identifier Universal Content Identifier (UCI) and a watermarking system that embeds UCI for the broadcast content distribution services. Our proposed UCI embedder is designed in consideration of integrating with the previously established broadcast system and protecting the illegal distribution of broadcast contents. Our goal is that when broadcast content is transmitted, 28 byte UCI is embedded imperceptibly in the content itself in real-time and the embedded UCI is successfully extracted not only in the typical format used in the broadcast content distribution service but also in the illegally distributed broadcast contents. Usually the illegally distributed contents are modified from the original by changing resolutions, frame rates, or adjusting colors. In this paper, we present a watermarking scheme that embeds 28 byte UCI in broadcast content in real-time while keeping the visual quality high and the embedded watermark robust enough to survive through the various modification. The experimental results show that the embedded UCI remains in the various modified versions of content and that the visual degradation by embedding is not noticeable.

• Cartoon and Animation Studies
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• s.45
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• pp.417-434
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• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.31 no.6C
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• pp.614-622
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• 2006

In this paper, we propose an efficient packetization method to reduce the packetization overhead. For the purpose, we firstly verify the relationship between packet length and packet loss rate. The empirical results show that as the packet length is larger than the path MTU, the packet loss rate is drastically increased, producing poor visual quality at the receiver side. However, as the length of the packet is reduced, we should transmit more packets per frame and the packetization overhead will be increased. This increase in the packetization overhead reduces the number of bits allocated to the video data, resulting in the low visual quality. Therefore, each packet should be packetized to have the packet length close to the path MTU. In this paper, we show that the this process of the packetization with the constraint on the packet length is very similar to the dynamic storage allocation in the operating system. We had thoroughly surveyed the dynamic storage allocation methods used in the recent operating systems and propose to use the allocation methods for the video packetization. We empirically show that the proposed method can reduce the packetization overhead upto 28.3%, compared with the conventional sequential packetization method which have been widely used in Internet video transmission.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.70-80
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• 2012

There isn't much of discussion about survey of traditional Korean garden with a perspective of Pungsu. Strictly speaking, it is difficult to list the names of gardens in which Pungsu theory is applied. But it is necessary to study in depth the Korean garden in mountain in relation with Pungsu. The reason is as follow; First, Pung-su and gardening both reflect man's responsive attitude and approach toward nature. Second, selecting a site for a garden requires aesthetic eyes to consider the harmony with the surrounding landscape and its compositions, where the perspective of Pungsu can play as an important component at work. Third, Pungsus complementary function justifies the correlation between Pungsu and Korean gardens. Gardens can be viewed as a solution to complement negative elements of Pungsu on site. This article tries to study the relationship between Pungsu and Korean garden in mountain in terms of Pungsu aesthetics. In Kosan Yoon Sun-Do's Buyong-dong garden, excavated perspectives of Pungsu aesthetics are fell into two categories; the spatial frame based on Pungsu topography and the dimension of enjoyment through visual angles between essential points. The former can be said as Pungsu topography as a mental image which was constructed by selected points and given Pungsu meanings; the latter is visual angles between those points by which make it possible to see and enjoy in comfortable sights. In such way making and enjoying Buyong-dong garden with full of Pungsu oriented meanings and aesthetics, Kosan Yoon Sun-Do enjoyed and sublimated his experience in nature into art.