• Journal of Digital Convergence
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• v.16 no.12
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• pp.147-152
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• 2018

Current research examined the effect of fit in the executional cue on brand memory for luxury and non-luxury brand advertising. In particular, this research looked at music to see how well individuals memorize information about brands where background music and sound logo fit or non-fit in the advertisement. As results, the influence of fit in music was higher in the luxury brand advertisement than that of non-luxury brand. The findings demonstrate fit leads more positive response not only in the relationship between the executional cue and the brand image or executional cues, as seen in the literature, but also in the executional cue. Moreover, the effect of fit in the executional cue is greater for the luxury (vs. non-luxury) brand. Based on the results, present research proposes the academic and practical implications.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Korean Journal of Cognitive Science
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• v.25 no.3
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• pp.259-276
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• 2014

Artists such as Duchamp and Balla tried to portray moving objects on static canvases by superimposing snapshots of moving objects. Previously, our group showed the influence of prior experience on brain responses within a motion-sensitive area MT+ to abstr act paintings with or without implied motion. In the present study, we went further to investigate whether the differential MT+activation between observers is originated from differential eye movement patterns. Prior experience was defined operationally with major in art. In addition, we examined whether perceiver's awareness of artist's intention concerning the implied motion, as well as expertise in art, affects the way he/she views the artwork. Results showed that the number and the duration of fixation on the abstract paintings tended to differ between participants based on art major. The awareness of artist's intention was not related to such differences. In contrast, observers' awareness of artist's intention of implying motion affected eye movement patterns in specific regions of the abstract paintings where the motion was portrayed. In other words, observers with awareness focused more on the parts of paintings portraying motion and moved their eyes in the direction corresponding to the direction of moving objects than observers without awareness. Expertise was not related to such specific eye movement patterns. The present study implies that art expertise and awareness of artist's intention play differential roles in observers' perception of paintings with implied motion. Namely, it suggests that expertise is related to the overall perception of paintings, while awareness of implied motion is related to perception of the specific spatial information in those paintings.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.521-529
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• 2016

This paper presents the historical development process and expressive style of motion graphics which are intended to artistic expression, and discusses the value of artistic expressions in motion graphics through the works and activities of F5 and Semi-Permanent which are the representative organization of that. Commercial use of digital motion graphics has been rapidly widespread and used in most of the picture contents by changes in the digital video production environment with the development of the computer. Motion graphics begins with a graphic design applied to the motion graphic content and is transferred from the abstract representation of the animation at the same time. Since then motion graphics have been developed as an independent genre on the basis of graphic design and animation, and take the important position for the understanding and development of the contemporary design and content industry. Moreover, the motion graphics which present the experiment of various techniques and the aspect of mixed genres contribute to the development and diversification of the visual image. This paper is covered on not only F5 and Semi-Permanent that have published experimental artistic motion graphics but also the analysis of the developed ways and expressive patters to produce experimental motion graphics of their works. Furthermore, it discusses the experimental artistic value of these works.

• Proceedings of the Korea Inteligent Information System Society Conference
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• 2005.05a
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• pp.190-197
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• 2005

본 논문에서는 출입국자 관리의 효율성과 체계적인 출입국 관리를 위하여 여권 코드를 자동으로 인식하고 위조 여권을 판별할 수 있는 여권 인식 및 얼굴 인증 방법을 제안한다. 여권 이미지는 기울어진 상태로 스캔되어 획득되어질 수도 있으므로 기울기 보정은 문자 분할 및 인식, 얼굴 인증에 있어 매우 중요하다. 따라서 본 논문에서는 여권 영상을 스미어링한 후, 추출된 문자열 중에서 가장 긴 문자열을 선택하고 이 문자열의 좌측과 우측 부분의 두께 중심을 연결하는 직선과 수평선과의 기울기를 이용하여 여권 여상에 대한 각도 보정을 수행한다. 여권 코드 추출은 소벨 연산자와 수평 스미어링, 8방향 윤곽선 추적 알고리즘을 적용하여 여권 코드의 문자열 영역을 추출하고, 추출된 여권 코드 문자열 영역에 대해 반복 이지화 방법을 적용하여 코드의 문자열 영역을 이진화한다. 이진화된 문자열 영역에 대해 CDM 마스크를 적용하여 문자열의 코드들을 복원하고 8방향 윤곽선 추적 알고리즘을 적용하여 개별 코드를 추출한다. 추출된 개별 코드는 ART2 알고리즘을 적용하여 인식한다. 얼굴 인증을 위해 템플릿 매칭 알고리즘을 이용하여 얼굴 템플릿 데이터베이스를 구축하고 여권에서 추출된 얼굴 영역과의 유사도 측정을 통하여 여권 얼굴 영역의 위조 여부를 판별한다. 얼굴 인증을 위해서 Hue, YIQ-I, YCbCr-Cb 특징들의 유사도를 종합적으로 분석하여 얼굴 인증에 적용한다. 제안된 여권 인식 및 얼굴 인증 방법의 성능을 평가를 위하여 원본 여권에 얼굴 부분을 위조한 여권과 노이즈, 대비 증가 및 감소, 밝기 증가 및 감소 및 여권 영상을 흐리게 하여 실험한 결과, 제안된 방법이 여권 코드 인식 및 얼굴 인증에 있어서 우수한 성능이 있음을 확인하였다.권 영상에서 획득되어진 얼굴 영상의 특징벡터와 데이터베이스에 있는 얼굴 영상의 특징벡터와의 거리 값을 계산하여 사진 위조 여부를 판별한다. 제안된 여권 인식 및 얼굴 인증 방법의 성능을 평가를 위하여 원본 여권에서 얼굴 부분을 위조한 여권과 기울어진 여권 영상을 대상으로 실험한 결과, 제안된 방법이 여권의 코드 인식 및 얼굴 인증에 있어서 우수한 성능이 있음을 확인하였다.진행하고 있다.태도와 유아의 창의성간에는 상관이 없는 것으로 나타났고, 일반 유아의 아버지 양육태도와 유아의 창의성간의 상관에서는 아버지 양육태도의 성취-비성취 요인에서와 창의성제목의 추상성요인에서 상관이 있는 것으로 나타났다. 따라서 창의성이 높은 아동의 아버지의 양육태도는 일반 유아의 아버지와 보다 더 애정적이며 자율성이 높지만 창의성이 높은 아동의 집단내에서 창의성에 특별한 영향을 더 미치는 아버지의 양육방식은 발견되지 않았다. 반면 일반 유아의 경우 아버지의 성취지향성이 낮을 때 자녀의 창의성을 향상시킬 수 있는 것으로 나타났다. 이상에서 자녀의 창의성을 향상시키는 중요한 양육차원은 애정성이나 비성취지향성으로 나타나고 있어 정서적인 측면의 지원인 것으로 밝혀졌다.징에서 나타나는 AD-SR맥락의 반성적 탐구가 자주 나타났다. 반성적 탐구 척도 두 그룹을 비교 했을 때 CON 상호작용의 특징이 낮게 나타나는 N그룹이 양적으로 그리고 내용적으로 더 의미 있는 반성적 탐구를 했다용을 지원하는 홈페이지를 만들어 자료 제공 사이트에 대한 메타 자료를 데이터베이스화했으며 이를 통해 학생들이 원하는 실시간 자료를 검색하여 찾을 수 있고 홈페이지를 방분했을 때 이해하기 어려운 그래프나 각 홈페이지가 제공하는 자료들에 대한 처리 방법을 도움말로 제공받을 수 있게 했다. 실

• Archives of design research
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• v.18 no.1 s.59
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• pp.39-48
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• 2005

In the age of digital culture, TV broadcasting is exercising more influence as a information and communication medium compared to past. With the appearance of satellite broadcasting service in 2002, the broadcasting environment became a diversified field of local TV, cable TV, satellite, internet, etc. and created the time of multi-media and multi-channel. This ongoing change of broadcasting environment made the passive audience of the past, active image makers and new accepters, participants and users of communications, who know how to choose and use media as the active centerpiece, The active acceptor as the centerpiece of channel selections has become the center of the broadcasting, whereby they pick up and enjoy their favorite TV programs and came to remember the list of their favorite channels and zap them finally. In this point of spotting their favorite channels and improving the degree of recognition for the channels, the development of the noticeable brand for a particular program has made a great contribution. The aim of this study, therefore, is to recognize the factors, which are important in the habits of watching TV and to develop professional brands for TV broadcasting programs. The range of the survey for this study was home news programs and broadcasting stations abroad, which were on air from March to May in 2004. The focus of the survey was universal and professional news programs. Through this study, it was ascertained that, in the case of news, developing a brand for an anchor as well as for a professional brand of TV program could be an important element.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.1-15
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• 2015

The purpose of this study was to analyze the commemoration characteristics of Vietnam War Memorials(VWM) in the United States(VWMUS). Through site survey and internet research, the researcher selected 87 VWMUS except monuments simply with markers, and analyzed 5 analysis items: design concepts, spatial characteristics, landscape details, sculptures, and interpretive texts and symbols. The results are as follows: 1. The analysis revealed that the main concepts of VWMUS were to cherish victims of the Vietnam War(85 sites (97.7%)), show veteran's dedication for country(85 sites(97.7%)), and publicize the contribution of groups by troop, regional, and membership(84 sites(96.6%)). 2. Most VWMUS were located in memorial parks and plazas. 59 memorials(67.8%) were designed to pursue the completion of each memorial assuming the form of symmetry and circles. On the other hand, 12 memorials(13.8%) were typed memorial walls and 11 memorials(12.6%) were formed by spatial sequence including various landscape details and grading. 3. Stone walls were mainly used to cherish victims of the War at 65 memorials(74.7%), and also, Flags like the Stars and Stripes, POW MIA flags, and state flags were hoisted to symbolize memorial's identity at all memorials. Additionally, Benches, monuments, markers, posts and columns, ponds and channels, Helicopters were partially introduced some memorials. 4. Sculptures were used 21 memorials(24.1%) which were smaller in numbers than other War Memorial in the U.S.A., for black stonewall were used for the main element of VWMUS. Except for a few sculptures that aimed to represent the Vietnam War symbolically and narratively, 16 memorials(18.4%) were formed to realistically express the image of wounded soldiers and their hardship in the Vietnam War. 5. KIA, MIA, Veteran's name were written and their images depicted on walls, Also, the symbolic phrase, 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY' were written on the memorials walls, and the POW MIA symbols were printed on the flags and engraved on walls. 6. In the United States of America, Democratic patriotism was considered a main ideological value in VWMUS by engraving KIA MIA's names on the walls, hoisting flags Stars and Stripes and POW MIA, and writing symbolic phrases 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY'. On the contrary, in Vietnam, nationalism, patriotism, and socialism were emphasized as main ideologies through raising war victory and resistance to foreign power as well as writing the symbolic phrase 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement' on memorial towers. Further study will be required to comparatively analyze VWM in order to understand national characteristics in Korea, Australia, U.S.A, and Vietnam.