• Journal of Sensor Science and Technology
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• v.10 no.2
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• pp.91-100
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• 2001

A $8{\times}8$ foveated (log-polar) retina chip for edge detection has been designed and fabricated using CMOS technology. Retina chip performs photo-input sensing, edge extraction and motion detection and we focused edge extraction. The pixel distribution follows the log-polar transform having more resolution in the center than in the periphery and can reduce image information selectively. This kind of structure has been already employed in simple image sensors for normal cameras, but never in edge detection retina chip. A scaling mechanism is needed due to the different pixel size from circumference to circumference. A mechanism for current scaling in this research is channel width scaling of MOS transistor. The designed chip has been fabricated using standard $1.5{\mu}m$ single-poly double-metal CMOS technology.

• Journal of Korean Society of Transportation
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• v.34 no.3
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• pp.248-262
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• 2016

The study documents the analysis on characters and symbols shown in the pavement markings in the perspective of mathematics educators. The purpose of this study is to propose a pavement marking method that can enhance readability from the driver's eye position. To this end, this study analyzed the figure of the pavement markings that can be actually recognized by the projective geometry perspective. As a result, it proposed alternatives to the current pavement markings by introducing the concept of the compression ratio. Results of the study are as follows. First, the rule was established to obtain the compression ratio. If the observation of two viewing angles are x and y, then the compression ratio S is ${\sin}y/{\cos}\(\frac{x-y}{2}\)$. Second, we presented two alternatives to the pavement marking method for the displayed information. One is a method for improving the pavement markings in terms of the compression ratio, the other is a method by varying vertical length of the pavement markings while holding its width constant. Based on the outcomes from this study, a mathematical analysis can be further studied for the perception of speed according to the types of pavement marking line.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.159-168
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• 2015

In this study, visual evaluation was wide pants with changes in length of pants and width of hem line of wide pants design to provide data which can enhance wearing image effects at the production of wide pants. According to the length of pants and width of hem line of wide pants, a total of 9 stimulants were chosen. Then, they were evaluated using a seven-point rating scale against 40 fashion students. The data has been analyzed by Factor Analysis, ANOVA, $Scheff{\acute{e}}$'s Test and the MCA method. The results of the study are as follows : 1. According to factor analysis, the components of visual evaluation depending on the length of pants and width of hem line of wide pants were divided into five factors: individuality, body correction, modesty, body length and cute. 2. According to visual evaluation depending on changes in the length of pants, no significant difference was found in all five positions. 3. According to visual evaluation depending on changes in the length of pants and width of hem line of wide pants, 'width of hem line 60, 100' revealed a significant difference in body correction. 'width of hem line 80' revealed a significant difference in body correction and body length. 4. In terms of interactions over changes in the length of pants and width of hem line of wide pants, no interaction effects were found in all five factors. According to multiple classification analysis(MCA) on the factors without interaction effects, length of pants had more effect on visual image in body correction, body length and cute. In other factors, more influence was observed depending on the width of hem line.

• Journal of the Korea institute for structural maintenance and inspection
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• v.15 no.2
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• pp.79-87
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• 2011

In this study, the chloride penetration tests were performed for the initially cracked reinforced concrete members. The chloride diffusion characteristics and the critical crack width are compared, and the properties of self-healing are investigated. According to the test results, the chloride penetration resistance was greatly reduced as the surface crack width increased. When the mineral admixtures are added, the chloride penetration resistance of uncracked specimens were effectively increased, however, in case of the blast furnace slag and fly ash, the cracked specimens showed the more reduced resistance than OPC case, inversely. Also, the critical width was $29{\mu}m$, on average, for immersion test. The crack width with $4{\sim}15{\mu}m$ was restored by self-healing, The parts restored by self-healing were seemed to be visually restored, however, the chloride penetration resistance was not restored, perfectly.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.1-17
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• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.

• Archives of design research
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• v.16 no.2
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• pp.405-414
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• 2003

The modeling analysis for objects placed in a given space can be described objectively when their visual image structure is grasped. It can't be answered without first analyzing the basic program, visual expression. And when the whole aspect of the visual image of the desired interior utensils is presented, the mindset of its designer can be deduced from that. Therefore, the study was based on the lemon juice squeezer, one of the interior kitchen utensils that Philippe Starck designed for Italy ALESSI company. For the study method, putting'The Elements of Dynamic Symmetry' by Prof. Jay Hambidge into practice, 'paradigm' analysis containing the whole'lemon juice squeezer'image was attempted. And to describe it, the visual mark description method by Prof. Bok-Young Kim was used. In conclusion, henceforth, the relationship between interior space and articles, the relationship between object and user, the modeling critique or analysis of the production itself shoud not be intended to be emotional. On the contrary, the study presented an art analyic methodology that can analyze and describe the visual image structure numerically, and confirm the relationship between form and content.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Journal of Digital Contents Society
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• v.16 no.4
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• pp.659-669
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• 2015

Recently, media art is transforming from analogue to 'digital', and from 2D to '3D'. In particular, the range of utilizing 3D Media Art is getting wider through merging with other genres of contents in the digital environments, such as Media façade, Hologram, Virtual reality, App application, and etc. Therefore, by referring to the 3D award-winning works of Pirx Ars Electronica, which are regarded as the most outstanding works of media art of today, factors that affect sensation of visual immersion have been analyzed, through which strategies for maximizing viewers' interests in media arts and heightening their emotions while viewing have been determined. Based on the findings of the study, it has been shown that such works of media arts that involve development of concepts with 'creativity' and 'variability' from the perspective of visual concept, such as 3D modeling and mapping, with 'consistency' through out all concepts, as well as the works with stronger 'restriction' of concept within its animation and postproduction, attracted more interests from the viewer. From the point of view with visual four steps in composition, positioning the change in quality of 3D 'shape' and 'material' following the four-step rule, and gradual increase of change in quantity within the 'number' and 'size', in addition to increased degree of systematization within the change in editing, such as the 'scene change', resulted in more heightened emotions from the viewer. Thus, in order to maximize sensation of visual immersion, strategies for 'developing 3D visual concepts' while 'synchronizing' them, as well as 'strengthening the four steps within 3D visual composition' while 'systematizing' them should be emphasized.

• Journal of Bio-Environment Control
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• v.21 no.1
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• pp.12-19
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• 2012

This research was performed to determine the appropriate daily last irrigation time to enhance the plant growth and the water and fertilizer use efficiencies in coir bag culture for tomato plant. The time to finish the daily irrigation was set by 1, 2, 3 and 4 hours before the sunset. The water content in the substrate was greatly affected by the last irrigation time. The earlier the last time, the greater the daily fluctuation of water contents in the substrate. The daily irrigation times were not affected by using irrigation management system controlled by drainage electrodes or the physiochemical properties of coir. The growth characteristics were not significantly different among the treatments. The highest marketable yields were obtained in the treatment finishing two hours before sunset, and the lowest yields were obtained in the the treatment finishing 4 hours before sunset. Based on the result from surveying quantity of irrigated water for 128 days of the experiment period, the water and fertilizer use efficiencies were lowest in the treatment finishing 4 hours before sunset, and the highest in the treatment finishing 2 hours before sunset. In terms of plant growth, yields, water and fertilizer use efficiencies, 2 hours before sunset treatment was determined as the most economical and desirable irrigation schedule.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.53-62
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• 2021

After the first to present projected moving pictures to audiences, the film industry has been reshaping along with technological advancements. Through the full-scale introduction of visual effects-oriented post-production and digital technologies in the film-making process, the film industry has not only undergone significant changes in the production, but is also embracing the cutting edge technologies broadly and expanding the scope of industry. Not long after the change to digital cinema, the concept of artificial intelligence, first known at the Dartmouth summer research project in 1956, before the digitalization of film, is expected to bring about a big transformation in the film industry once again. Large volume of clear digital data from digital film-making makes easy to apply recent artificial intelligence technologies represented by machine learning and deep learning. The use of artificial intelligence techniques is prominent around major visual effects studios due to automate many laborious, time-consuming tasks currently performed by artists. This study aims to predict how artificial intelligence technology will change the film industry in the future through analysis of visual effects production cases using artificial intelligence technology as a production tool and to discuss the industrial potential of artificial intelligence as visual effects technology.