• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Korean Journal of Remote Sensing
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• v.26 no.2
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• pp.251-262
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• 2010

In order to provide quantitative control of the standard products of Geostationary Ocean Color Imager (GOCI), on-board radiometric correction, atmospheric correction, and bio-optical algorithm are obtained continuously by comprehensive and consistent calibration and validation procedures. The calibration/validation for radiometric, atmospheric, and bio-optical data of GOCI uses temperature, salinity, ocean optics, fluorescence, and turbidity data sets from buoy and platform systems, and periodic oceanic environmental data. For calibration and validation of GOCI, we compared radiometric data between in-situ measurement and HyperSAS data installed in the Ieodo ocean research station, and between HyperSAS and SeaWiFS radiance. HyperSAS data were slightly different in in-situ radiance and irradiance, but they did not have spectral shift in absorption bands. Although all radiance bands measured between HyperSAS and SeaWiFS had an average 25% error, the 11% absolute error was relatively lower when atmospheric correction bands were omitted. This error is related to the SeaWiFS standard atmospheric correction process. We have to consider and improve this error rate for calibration and validation of GOCI. A reference target site around Dokdo Island was used for studying calibration and validation of GOCI. In-situ ocean- and bio-optical data were collected during August and October, 2009. Reflectance spectra around Dokdo Island showed optical characteristic of Case-1 Water. Absorption spectra of chlorophyll, suspended matter, and dissolved organic matter also showed their spectral characteristics. MODIS Aqua-derived chlorophyll-a concentration was well correlated with in-situ fluorometer value, which installed in Dokdo buoy. As we strive to solv the problems of radiometric, atmospheric, and bio-optical correction, it is important to be able to progress and improve the future quality of calibration and validation of GOCI.