• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.21 no.5
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• pp.171-182
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• 2022

The safe use of a structure requires it to be maintained in an undamaged state. Thus, a typical factor that determines the safety of a structure is a crack in it. In addition, cracks are caused by various reasons, damage the structure in various ways, and exist in different shapes. Making matters worse, if these cracks are unattended, the risk of structural failure increases and proceeds to a catastrophe. Hence, recently, methods of checking structural damage using deep learning and computer vision technology have been introduced. These methods usually have the premise that there should be a large amount of training image data. However, the amount of training image data is always insufficient. Particularly, this insufficiency negatively affects the performance of deep learning crack detection algorithms. Hence, in this study, a method of augmenting crack image data based on the image translation technique was developed. In particular, this method obtained the crack image data for training a deep learning neural network model by transforming a specific case of a asphalt crack image into a concrete crack image or vice versa . Eventually, this method expected that a robust crack detection algorithm could be developed by increasing the diversity of its training data.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.