• 디자인학연구
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• 제19권3호
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• pp.71-92
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• 2006

People have their own cultural backgrounds and experiences in terms of visual perceptional thinking so that they could misunderstand the cultural symbols, trademarks, Brand Identities, and trade characters, especially, animal trademarks. Sometimes Easterners and Westerners seem to not comprehend the different meanings of the cultural symbols. The signs of twelve Chinese zodiac animals are the typical symbol of the Asian mythology. What I wanted to focus on emphasizing the different views and perspective of an animal trademark is according to the Chinese Zodiac between Eastern and Western cultures. Generally, multiple symbolisms are difficult to comprehend, because they are created by individual ideas and incorporate several mythologies and histories. How do Westerners interpret the implied meaning of Eastern animals in general? How are they going to understand the Eastern animal logos or marks accurately? How can we solve the problem to make people understand their different meanings? There were some confusing pictorial images in the area of the design field when a designer creates an animal mark for globalization and localization. Creating of hybrid symbol is the best way to break the communication barriers with people all around the world.

• 한국디지털건축인테리어학회논문집
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• 제11권3호
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• pp.99-107
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• 2011

The prime purpose of this study is to view traditional residential space not only as visual and figurative but also experiencing space from the perspective of aesthetics. This study points out that traditional residential space should be perceived as "true space" of connecting people, life and experience. Although it was not clearly defined as a visual entity, the value, phenomenon and experience of space materialized through conjecture and expectation are interpreted as the arena of aesthetics and philosophy. This study aims at drawing a conclusion that the characteristics of traditional residential space, which is perceived as experiencing space centered on objective and subjective human behaviors, makes a linkage to aesthetic elements.

• 한국디지털건축인테리어학회논문집
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• 제10권3호
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• pp.53-62
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• 2010

The prime purpose of this study is to view traditional residential space not only as visual and figurative but also experiencing space from the perspective of aesthetics. This study points out that traditional residential space should be perceived as "true space" of connecting people, life and experience. Although it was not clearly defined as a visual entity, the value, phenomenon and experience of space materialized through conjecture and expectation are interpreted as the arena of aesthetics and philosophy. This study aims at drawing a conclusion that the characteristics of traditional residential space, which is perceived as experiencing space centered on objective and subjective human behaviors, makes a linkage to aesthetic elements.

• 한국실내디자인학회논문집
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• 제22호
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• pp.77-84
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• 2000

The study aims at looking, into conceptual transfer of environment between Minimal Art and Minimalism architecture and analysing architectural expressional characteristics which could visually show pro-environmental expression from concept of environment-orientation in the architecture in regional minimalism. This study issued the survey of Minimalism architecture as newly architectural trend since Late-Modernism, and pro-environment as important paradigm in the near future. In this analyses, the characteristics of pro-environmental expression can be classified as follow ; a the brightness and darkness of light, b. the perspective view of simplified wall, c. the visualization of environmental characteristics, d. the transparency and reflectiveness of glass, e. the all direction of cube, f. the visual division of architecture. These show that symbolized variety implying expression variety and implying Oriental view of nature were expressed as unique language of regional Minimalism architecture, by visual simplicity as characteristics of Minimalism and Occidental Modernism as motive of Minimalism.

• Journal of Electrical Engineering and information Science
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• 제2권6호
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• pp.177-182
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• 1997

A visual servoing method is proposed for a robot with a camera in hand. Specifically, vanishing point features are suggested by employing a viewing model of perspective projection to calculate the relative rolling, pitching and yawing angles between the object and the camera. To compensate dynamic characteristics of the robot, desired feature trajectories for the learning of visually guided line-of-sight robot motion are obtained by measuring features by the camera in hand not in the entire workspace, but on a single linear path along which the robot moves under the control of a commercially provided function of linear motion. And then, control actions of the camera are approximately found by fuzzy-neural networks to follow such desired feature trajectories. To show the validity of proposed algorithm, some experimental results are illustrated, where a four axis SCARA robot with a B/W CCD camera is used.

• 로봇학회논문지
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• 제14권1호
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• pp.1-7
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• 2019

Recently, smart factories have attracted much attention as a result of the 4th Industrial Revolution. Existing factory automation technologies are generally designed for simple repetition without using vision sensors. Even small object assemblies are still dependent on manual work. To satisfy the needs for replacing the existing system with new technology such as bin picking and visual servoing, precision and real-time application should be core. Therefore in our work we focused on the core elements by using deep learning algorithm to detect and classify the target object for real-time and analyzing the object features. We chose YOLO CNN which is capable of real-time working and combining the two tasks as mentioned above though there are lots of good deep learning algorithms such as Mask R-CNN and Fast R-CNN. Then through the line and inside features extracted from target object, we can obtain final outline and estimate object posture.

• ETRI Journal
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• 제41권4호
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• pp.483-493
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• 2019

Considering the high dimensions of video sequences, it is often challenging to acquire a sufficient dataset to train the tracking models. From this perspective, we propose to revisit the idea of hand-crafted feature learning to avoid such a requirement from a dataset. The proposed tracking approach is composed of two phases, detection and tracking, according to how severely the appearance of a target changes. The detection phase addresses severe and rapid variations by learning a new appearance model that classifies the pixels into foreground (or target) and background. We further combine the raw pixel features of the color intensity and spatial location with convolutional feature activations for robust target representation. The tracking phase tracks a target by searching for frame regions where the best pixel-level agreement to the model learned from the detection phase is achieved. Our two-phase approach results in efficient and accurate tracking, outperforming recent methods in various challenging cases of target appearance changes.

• 한국멀티미디어학회논문지
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• 제25권10호
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• pp.1457-1467
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• 2022

The relationship between film and culture is established through a shared focus on people's lives. Culture changes at different times, which makes a dynamic and complex relationship between film and culture. Understanding this relationship helps to provide better support for current filmmaking. The purpose of this study is to provide insights into the macro issue of film and culture by exploring the relationship between film theme and culture concept. To this end, we used a case study to explore the connection between themes and culture concepts in Disney's Mulan (1998, 2020) through literature and analyses of culture concepts (Chinese "imagery" and Postmodernism). The study concludes that, "Culture assemblage" and "Vision is king" have become cultural trends that influence the creation of film theme and style to a certain extent; how to balance the relationship between the core idea of film theme and the external forms is an important issue in current filmmaking. The article contributes to promote thinking about culture in film creation, and its research perspective on different cultures and histories is innovative.

• International journal of advanced smart convergence
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• 제11권3호
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• pp.85-92
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• 2022

Known as "The Ninth Form of Art", video game is a form of hypermedia art rising in response to the rapid development of modern technology, with millions of fans worldwide. From the perspective of the game market, those games that have high stickiness and a long operating cycle usually have abundant doujin works. As a spontaneous behavior of the players, doujin culture reflects the players' feelings towards and perception of the games, and it reacts upon the original game while relying on it, exerting a far-reaching influence on the operation of game products. We try to analyze the influences of doujin culture on game operation performance, hoping to provide game operators with some useful ideas.

• International journal of advanced smart convergence
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• 제13권2호
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• pp.172-186
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• 2024

With the globalization of the film industry, ethnic minority films have been developed and studied by many scholars for their special ethnic representation. The film "Tharlo" directed by Pema Tseden carefully explores the identity anxiety of a Tibetan shepherd. Through the connection and separation between the protagonist and traditional culture, it shows a complexity of modern ethnic identity for minority people. This study explores what kind of cinematic techniques and symbolic elements the director uses to shape ordinary characters, build a narrative space, and show ethnic representation. This paper puts forward a theoretical framework combining cinematic quantitative methods with qualitative narrative and semiotic analysis, aiming to deepen our understanding of cinematic techniques and ethnic representation, and provides a new perspective and profound insights for discussing the complexity faced by ethnic minorities in contemporary films. This study finds that Tseden's "Tharlo" successfully portrays the complex transformation of Tibetan cultural identity in the context of globalization and modernization through cinematic techniques such as fixed camera positions, long take and black-and-white cinematography, combined with the use of symbolic elements like mirrors, lambs and identity cards.