• Cartoon and Animation Studies
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• s.39
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• pp.59-83
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• 2015

Magical realism, blooming and improving in Latin America, opened the new vision about reality and rationalism, coming out from the out-styled frame of past. While having common points with unrealistic literature, which uses fantastical components, magical realism is different from Surrealism and fantasy literature that is focusing on reality and realizing reality intensely. In the early stage of this research, magical realism was restricted by the characteristics of literature of Latin America, but the research of magical realism is expanding in planning Post-Modernism nowadays. Lately, the influence of magical realism is identified in literatures, arts, films, and animations over the world; according to the research, however, research about magical realism in animations was not done in Korea before. A Korean independent animation "A coffee vending machine and its sword" was evaluated positively in many international film festivals is valuable as the research of magical realism. Throughout this study, this animation "A coffee vending machine and its sword" was analyzed by its narrative and images. The analysis of narrative consists two parts. One is about the form of narrative and the other is about contents through the story. Analysis of Image is also divided into two parts: background image and character image. In this animation, the protagonist is narrating about the fantastic accidents in his life and his own feelings towards it. The narration leads audience to understand his situation and feelings in meta-fiction. On the surface, audience watches the love story of a normal girl and coffee vending machine in this artwork, but deep inside the animation, it is visible that the directors tried to make audiences think about the life of 880,000-won Generation in Korea. The background image was represented as real places in Seoul including the landmark of Seoul, making mimesis of reality in Korea. The character image has two conflicting aspects with reincarnated warrior, Jinyoungyoung and a coffee vending machine. It is a hybrid-character transmogrifying between two characters. Likewise, "A coffee vending machine and its sword" has the characteristics of Korean magical realism through form, content and image. Through analyzing the Korean independent animation "A coffee vending machine and its sword", this research tried to find a way of using factors of fantasy, of representing reality as a dramatic device and of using magical realism of Korean animation for bond of sympathy with audience.

• Korean journal of communication and information
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• v.48
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• pp.231-256
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• 2009

The purpose of this study is that we regard the notion of reality that television viewers feel as presence, point out problem of measurement tool that appropriate for TV, clarify the subordinate concept of presence, and develop measurement tool that have reliability and validity. To achieve this, we paid attention to reality of television as a determinant of presence and tried to elicit proper subcategories. That is, we progressed two steps research that distinguished external characteristic and content of the media into sensible reality and cognitive reality, and develop measure item and verified statistical validity. We analyzed the second research result about measurement category of presence selected by first research and then we did Exploratory factor analysis and Confirmatory factor analysis. As a result, the first characteristic that make people experience presence is sensible reality, that is, it is the factor of sensible faithfullness, image faithfullness, and image reality as the form factor of the media. The second characteristic is cognitive reality. That is the factor of social reality, relational reality, and practical reality as the factor of media content. Synthesizing these subordinate factor, we can conceptualize presence experience as a reality of media form and content in HDTV viewing environment.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.3
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• pp.366-370
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• 2010

This paper presents an automatic Oriental ink-rendering technique that recreates the artistic style of Oriental paintings from a single image. In Oriental paintings are characterized by strokes with various thickness and disordered dispersion. In this study, a stroke drawing method was developed based on the canny edge detector and radial curvature that are suitable for lines with varied thickness even along a single stroke. A dispersion-shading method was likewise developed by applying a set of iterated dual-filtering, and intensity exaggeration methods. The dispersion-shading method is designed to increase the local shade details, to decrease the global shade. Unlike the existing watercolor-rendering and abstraction system the proposed dispersion-shading method achieves disordered shade details rather than simplification.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.13 no.2
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• pp.29-35
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• 2004

최근 심미적인 보철 치료에 대한 사람들의 관심이 높아짐에 따라 자연치와 더욱 조화롭게 보철 치료를 하는 것이 요구되고 있다. 이는 구조적인 심미성과 함께 자연스러운 색조 재현을 통하여 이루어지는데, 자연치의 색조는 매우 다양하고 부위별로 달라질 수 있기 때문에 단순히 shade guide상의 비교만으로는 정확한 색조를 얻기가 어렵다. 이러한 색조 선택의 부정확성 때문에 객관적으로 색조를 분석하는 많은 기계적 장치들이 고안되었고, 최근에 ShadeScan system(CYNOVAD, Canada), Vita Easyshade system(Vident, Canada) 등 디지털로 색조를 평가하는 시스템이 각광을 받고 있다. ShadeScan system은 한 번의 클릭으로 치아 이미지를 채득할 수 있고, 바로 컴퓨터를 통해서 이를 분석하여 원하는 shade map, translucency map 등을 얻을 수 있다. 또한 세 방향에서 조사되는 빛은 자체 calibration을 거쳤기 때문에 주변 광원이나 환경의 영향 없이 객관적으로 치아의 이미지를 채득할 수 있다고 한다. 사실 그 동안 이미지 채득이 객관적이라고 주장하는 많은 system이 있었지만 임상의들은 그 신뢰성에대해 의구심을 보였던 것이 사실이다. 이에 본고에서는 ShadeScan system이 반복 촬영 시 같은 색조재현을 할 수 있는지 실험하여 그 객관성에 대해 살펴보았다.

• School Mathematics
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• v.12 no.4
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• pp.563-584
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• 2010

This study is aimed at analysing the mathematical thinking processes based on image by the mathematically gifted. For this, the 'Splitting a Tetrahedron' Task was used and mathematical thinking of the two middle school students were investigated. One of them deduced how many tetrahedral and octahedral were there when a tetrahedra was splitted by the surfaces which were parallel to each face of the tetrahedra without using any physical material. The other one solved the task using physical material and invented new images. A concrete image, indexical image and symbolic image were founded and the various roles of images could be confirmed.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Proceedings of the Korean Information Science Society Conference
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• 2008.06a
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• pp.277-278
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• 2008

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.6
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• pp.1085-1097
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• 2017

In the era of new media, images hold an important position as episteme to express and convey ideas. Fashion films provide dynamic and unique fashion images, differentiated from prior fashion media as a representational tool for showing a realistic fashion image only; consequently, their production and spread are increasing rapidly as a new fashion media. This study identifies the meaning and type of fashion images in fashion films based on the concept of Deleuze's image that help discover distinctive characteristics of fashion films as a new fashion media of an expressive tool. Literature research was conducted on new media, concepts and types of images by Deleuze to analyze types of new media images. According to research, fashion image in fashion film is defined as a fashion event; consequently, three types of new media images are derived. As the result of the empirical study, fashion images in fashion films are classified by images of realistic movement, variable time, and virtual experience. The results of the consideration show that fashion films expressed fashion through temporality and narrative, senses, and diegesis. Fashion images of new media in fashion films portray fashion as a process that transcends reality and imagination.

• Journal of the Korean Society for information Management
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• v.19 no.3
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• pp.123-143
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• 2002

Developing good methods for image description and indexing is fundamental for successful image retrieval, regardless of the content of images. Researchers and practitioners in the field of image indexing have developed a variety of image indexing systems and methods with the consideration of information types delivered by images. Such efforts in developing image indexing systems and methods include Panofsky's levels of image indexing and indexing systems adopting different approaches such as thesauri-based approach, classification approach. description element-based approach, and categorization approach. This study investigated users' perception of the objectiveness of image indexing, especially the iconographical analysis of image information advocated by Panofsky. One of the best examples of subjectiveness and conditional-dependence of image information is emotion. As a result, this study dealt with visual emotional information. Experiments were conducted in two phases : one was to measure the degree of agreement or disagreement about the emotional content of pictures among forty-eight participants and the other was to examine the inter-rater consistency defined as the degree of users' agreement on indexing. The results showed that the experiment participants made fairly subjective interpretation when they were viewing pictures. It was also found that the subjective interpretation made by the participants resulted from the individual differences in terms of their educational or cultural background. The study results emphasize the importance of developing new ways of indexing and/or searching for images, which can alleviate the limitations of access to images due to the subjective interpretation made by different users.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.185-191
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• 2018

The digital technologies brought a structural transformation to cinema, have lead a change in the way of existence of an assembly of images called cinema, and have shared expression methods with new-media. To look into how in terms of cinema style of the film era and the digital era are different, this article will focus on the matter of 'indexicality.' From the point of view of perceptive realism the discourses on digital image deconstruct the dichotomy between illusionism and classical realism. Therefore the actuality of an image does not depend on only indexicality but has much to do with how the viewers fundamentally perceive the image. In this age of digital cinema it does not matter to distinct a composite-image from a reality-image. This article inquires the relation of indexicality, the world and digital images in digital cinema on the level of reception, and reconsider in terms of image production.