• Title/Summary/Keyword: 동시대성

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A study on the Chinese Animation Film-focusing on the Chinese Culture feature (<대성귀래>를 통해본 중국 전통 스타일 연구)

  • Ma, qing;Choi, chul-yong
    • Proceedings of the Korea Contents Association Conference
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    • 2016.05a
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    • pp.143-144
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    • 2016
  • 깊은 전통 문화를 지닌 중국 전통 요소들은 줄곧 예술 창작의 발원지였고 사람들에게 잘 알려진 신화, 전설과 고전 명작들을 탄생해냈다.<대성귀래>의 성공은 단지 수많은 애니메이터들의 꿈일 뿐만 아니라 중국 전통 요소들의 재차 발광과 승화이다. <대성귀래>는 중국 고전 <서유기>를 배경으로 영화 전반의 제작에 중국 요소를 활용함과 동시에 사상에 대한 전통 문화의 속박을 깨뜨려 현실 생활과 절묘하게 결합해 대중들에게 전면적이고 새로운 영화 이념을 펼쳐냈다.<대성귀래>를 연구 대상으로 하는 것은 우리가 중국 애니메이션 콘셉트의 발전 추이를 알아가는데 새로운 시각을 제공할 것이다. 본문은 중국 전통 요소인 <대성귀래> 속 배역과 장면 및 배경 음악의 활용에 대한 분석을 통해 <대성귀래>속 중국 요소가 뛰어난 빛을 낸 활용에 대해 연구하였다.

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A Study for the Relationship between the Sovereign and the Follower in Juyeok (『주역』 속에 나타난 최고 통치권자와 부하 직원의 상호 작용 관계 연구)

  • Lee, Daehee
    • (The)Study of the Eastern Classic
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    • no.32
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    • pp.363-390
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    • 2008
  • In this article, the author studied the relationship between the Sovereign and the follower in Juyeok which contained some eliments, such as Eum-Yang, Soseong 8 gyae, Daeseong 64 gyae. In Juyeok, the 'Sovereign 5 hyo' (1) shows distinctiveness in basic characteristics whether they are Eum or Yang(high level classification), (2) shows characteristics of Soseong-gyae to which they belong(middle level classification), (3) shows different characteristics according to Daeseong-gyae's circumstances(low level classification). Five Yanghyo are regarded as male sovereign having masculinity, whereas five Eumhyo are female sovereign with femininity. Gungyae is the most 'sturdy type leader' who possesses dignity and has good judgement. Taegyae, the blessing type leader, holds affection and calmness within sturdiness. Rigyae is gorgeous and passionate 'enthusiastic type leader'. Jingyae, the pioneering leader, bravely starts ascending in Eum-dominant atmosphere. Songyae has the virtue of hesitancy and concession, known as the leader of humbleness. Gamgyae always stay low and calm, regarded as a leader of sense. Gangyae shoots up from the earth, meaning a leader of strong will. Gongyae, embracing type leader, is straight and square, though it tries to embrace everything. Daeseong-gyae(64gyae) is formed by Soseong-gyae piling another Soseong-gyae. The characteristics of Soseong 8gyae are embodied in two-level form, the top(inner gyae) and the bottom(outer gyae). Simultaneously, the whole characteristics of 대성괘 are embodied. The Sovereign should show his/her leadership based on the 'characteristics of Daeseong-gyae'. These characteristics are the contingency from 'contingency leadership'. In other words, they are preconditions which leaders ought to admit.

Protecting Fingerprint Information using a Dual Watermarking Technique (이중 워터마킹 기술을 이용한 지문정보 보호)

  • Kim, T.;Chung, S.;Chung, Y.;Moon, D.
    • Proceedings of the Korea Information Processing Society Conference
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    • 2005.05a
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    • pp.1079-1082
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    • 2005
  • 최근 지문인식 시스템에서 인식 성능과 인식 시간뿐만 아니라, 지문정보 자체를 외부 공격자로부터 보호하기 위한 연구가 활발히 진행되고 있다. 본 논문에서는 지문정보의 전송 경로에서 발생할 수 있는 Replay 공격과 지문 데이터베이스의 유출로 인한 사후 처리 방안으로 강인성(Robustness)과 약한 성질(Fragileness)을 동시에 만족시킬 수 있는 이중 워터마킹(Dual Watermarking) 알고리즘을 제안한다. 특히, 두 가지의 워터마킹 알고리즘을 동시에 사용할 때 발생할 수 있는 워터마크 삽입 위치에 의한 간섭을 최소화하기 위하여 약한 워터마크를 삽입할 때 융선의 윤곽선 정보를 이용하였다. 실험을 통하여 제안한 방법이 삽입된 워터마크의 추출에 영향을 주지 않음과, 여러 가지 공격에 강인함을 확인하였다.

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Post-Medium and Postproduction: Contemporaneity of Contemporary Art (포스트-미디엄과 포스트프로덕션 : 포스트모더니즘 이후 현대미술의 '동시대성(contemporaneity)')

  • Chung, Yeon Shim
    • The Journal of Art Theory & Practice
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    • no.14
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    • pp.187-215
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    • 2012
  • In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

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A study on the bonding strength of co-cured T800/epoxy composite-aluminum single lap joint according to the forming and additional pressures (동시 경화법으로 제조된 T800/에폭시 복합재료-알루미늄 단면겹치기조인트의 성형압력 및 부가압력에 따른 접착강도에 관한 연구)

  • Son, Dae-Sung;Bae, Ji-Hun;Chang, Seung-Hwan
    • Composites Research
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    • v.24 no.5
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    • pp.23-28
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    • 2011
  • In this paper, the bonding strengths of co-cured T800 carbon/epoxy composite-aluminum single lap joints with and without additional pressures were investigated using the pressure information induced by the fiber tension during a filament winding process. The specimens of all the tests were fabricated by an autoclave vacuum bag de-gassing molding being controlled forming pressures (absolute pressures of 0.1MPa, 0.3MPa and 0.7MPa including vacuum). A special device which can act uniform additional pressures on the joining part of the single lap joint specimen was designed to measure the bonding strengths of composite-aluminum liners of type III hydrogen pressure vessel fabricated by a filament winding process. After the three different additional pressures (absolute pressures of 0.1MPa, 0.3MPa and 0.7MPa) were applied to the specimens the effect of the additional pressures on the bonding strengths of the co-cured single-lap joints were evaluated.

The Study on the Characteristics of Design through Issey Miyake's Fashion Philosophy (이세이 미야케의 패션철학을 통해 나타난 디자인 특징에 관한 연구)

  • 김미성;배수정
    • Journal of the Korean Society of Costume
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    • v.53 no.6
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    • pp.161-173
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    • 2003
  • The purpose of this paper is to classify fashion and trend, and examine how his fashionable philosophy reflects design. What affects his fashion philosophy is Western culture and Paris Revolution. Taking this opportunity, he outgrew the concept of haute couture and established specific fashion philosophy. His fashion philosophy is classified under consideration for women, respect for free emotions, recognition of tradition, and an active intercourse with many people. The characteristics of design through his philosophy are as following: 1. He wanted to release women from clothing restrained the body and make comfortable clothing which everyone can wear. This implies the consideration for women. It is the characteristics of his design to the harmony of functionality, simplicity, decoration and popularity. 2. He respected the free emotions and induced people to wear each parts of clothing which is dismantled freely within the limits coincided with clothing teleology-'wear', It implies autonomy. He also unfolded experimental design: gives the regular space between the clothing and the body and then distorts the body or maximizes modeling. It implies the beauty of space. 3. He elicited the modern design through recognition of tradition. It implies contemporaneousness. 4, As he thought that all of the concepts is based on human, he derived inspiration firm an active intercourse with many people, He established a new style through an active intercourse with artists because if he works alone, he would rise above the popular trend, It comes to the gest artist serieE and implies popularity, The characteristics of design in his fashion philosophy is classified into experimental design and practical design. But the important factor of his fashion philosophy is popularity so he would like to make popular clothing. He designs clothing which fit the public. It results from his firm fashion philosophy that his clothing is practical and decorative and he establishes his works meeting needs of modern. It is the reason that his clothing has perpetuity.

Mouk-Epic and "Novelization": Alexander Pope's The Rape of the Lock (의사영웅시와 "소설화"-『머리카락 강탈』을 중심으로)

  • Lee, Hye-Soo
    • Journal of English Language & Literature
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    • v.55 no.5
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    • pp.865-883
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    • 2009
  • The mock-heroic, "the single most characteristic and individual literary form of the neoclassical era," as Brean Hammond puts it, epitomizes the process of the "novelization" of the 18th-century British culture. Bakhtin mentions that when the novel reigns supreme, almost all the remaining genres are "novelized"; Hammond borrows the term "novelization" from Bakhtin and uses it as a "shorthand way of referring to the cultural forces that render epic anachronistic." Indebted to Hammond's apprehension of novelization, this paper reads Alexander Pope's Rape of the Lock in the context of novelization, particularly focusing on 'probability,' 'contemporaneity' and 'domesticity,' three important signatures of the novelization of the 18th-century British culture. First, Sylph as a counterpart of god in epic is presented in The Rape of the Lock just as a helpless, fictional and irrelevant thing that hardly affects the empirical world. It indicates how the mock-epic 'mocks' the classical world of 'epic' and stands closer to the world of the novel. Second, Pope's poem displays an accurate picture of the author's contemporary reality, a capital concern of the novel, such as imperialism, consumer society, commodity fetishism, or reification. Lastly, The Rape of the Lock lays out the construction of modern gender ideology, another quintessential interest of the novel, particularly with the fixed female image of a coquette. It efficiently silences and nullifies Belinda, a typical coquette, who stands as a threatening force to the ascendent domestic ideology.

Fingerprint Template Protection using Fuzzy Vault (퍼지볼트를 이용한 지문정보 보호)

  • Lee Sung-Ju;Jung Seung-Hwan;Moon Dae-Sung;Choi Sung-Back;Yang Sung-Hyun;Chung Yong-Wha
    • Proceedings of the Korea Information Processing Society Conference
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    • 2006.05a
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    • pp.889-892
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    • 2006
  • 생체정보를 이용한 사용자 인증시스템은 편리함과 동시에 강력한 보안을 제공할 수 있다. 그러나 사용자 인증을 위해 저장된 중요한 생체정보가 타인에게 도용된다면 심각한 문제를 일으킨다. 따라서 타인에게 유출되더라도 재사용이 불가능하도록 하기 위하여 사용자의 생체정보에 역변환이 불가능한 함수를 적용하여 저장하고 변환된 상태에서 인증 과정을 수행할 수 있는 방법이 필요하다. 본 논문에서는 최근 지문 템플릿(Fingerprint Template)을 보호하기 위해 암호학적 방법으로 연구되어지고 있는 퍼지볼트(Fuzzy Vault) 이론을 이용하여 안전하게 지문 템플릿을 보호하는 방법을 제안한다. 특히, 지문 템플릿에 퍼지볼트 이론을 단순 적용할 경우 기준점 부재로 인하여 야기되는 지문 정렬(alignment) 문제를 해결하기 위하여 기하학적 해싱(Geometric Hashing)방법을 사용하였다. 실험을 통하여 제안한 지문 퍼지볼트(Fuzzy Fingerprints Vault) 기법은 추가적인 정보없이 변환된 도메인에서 자동으로 지문 정렬을 수행하여 안전한 지문 템플릿 보호 및 인증이 가능하다는 것을 확인하였다.

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IFLA 총회 참관기

  • Lee, Jae-Seon
    • KLA journal
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    • v.39 no.5 s.312
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    • pp.60-69
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    • 1998
  • 제64차 국제도서관연맹(IFLA)대회가 ‘정보와 문화의 교차로에서’라는 주제아래 8월 16일부터 21일까지 네덜란드 암스테르담에서 개최되었다. IFLA 총회가 네덜란드에서 개최된 것은 1939년 헤이그와 암스테르담, 그리고 1966년 쉐베닝겐에서 열린 데 이어 이번이 세 번째이다. 이번 대회는 공식집계에 따르면 세계 120개국에서 3,328명의 도서관인들이 참가하는 대성황을 이루었다고 한다. IFLA 대회는 회원국을 순회하면서 열리는데 지난해에는 덴마크 코펜하겐에서 열렸다. IFLA는 1927년 창설된 비정부기구로서 UNESCO와 함께 공식적으로 활동해왔다. IFLA의 목적은 도서관 활동과 문헌정보학 전반에 걸친 국제적인 이해와 협력, 토론, 연구 및 개발을 증진시키고 도서관인들이 국제적인 공동 관심사를 논하는 장을 제공하는 데 있다. 현재 회원으로 141개국 1400이상의 도서관 및 관련 단체들이 가입되어 있다. IFLA조직은 헤이그에 본부를 두고 있으며, 운영 조직으로 심의 평가를 담당하는 실행위원회와 전문위원회 그리고 4개의 자문위원회로 구성되어 있다. 실행위원회는 IFLA의 정책, 운영과 재정에 대하여 책임을 지어, 전문위원회는 두 개의 하부조직인 전문가 그룹과 5개 코아 프로그램에 의해 수행되는 전문적인 활동의 기획과 프로그래밍에 대하여 모니터 한다. 전문가 그룹이란 8개의 부회와 그 아래있는 34개의 분과와 11개의 원탁회의를 말한다. IFLA대회는 한국도서관협회가 주최하는 전국도서관대회보다 좀더 규모가 큰 행사라고 생각하면 상상하기가 쉬울 것이다. 대회 전체를 아우르는 주제가 설정되어 있고, 그 아래 각 분과별 발표회 또는 원탁회의가 동시에 여러 곳에서 진행된다. 따라서 참가자는 프로그램을 보고 자신이 참석할 분과나 포럼 등을 미리 정해두지 않으면 우왕좌왕하게 된다. 그리고 참석기간 중에는 매일 발행되는 를 반드시 참고할 필요가 있다. 이 자료는 IFLA 대회 일정의 변경이라든가, 하루 동안 일어난 소식을 알려주는 일종의 신문과 같은 역할을 한다.

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An Watermarking Algorithm for Multimodal Biometric Systems (다중 생체인식 시스템에 적합한 워터마킹 알고리즘)

  • Moon, Dae-Sung;Jung, Seung-Hwan;Kim, Tae-Hae;Chung, Yong-Wha;Moon, Ki-Young
    • Journal of the Korea Institute of Information Security & Cryptology
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    • v.15 no.4
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    • pp.93-100
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    • 2005
  • In this paper, we describe biometric watermarking techniques for secure user verification on the remote, multimodal biometric system employing both fingerprint and face information, and compare their effects on verification accuracy quantitatively. To hide biometric data with watermarking techniques, we first consider possible two scenarios. In the scenario 1, we use a fingerprint image as a cover work and hide facial features into it. On the contrary, we hide fingerprint features into a facial image in the Scenario 2. Based on the experimental results, we confirm that the Scenario 2 is superior to the Scenario 1 in terms of the verification accuracy of the watermarking image.