• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.149-155
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• 2015

This research tried to project hidden and overall side of market economy system of capitalism through desire and fetishism of consumer society. The objective of this research lies in examining desire code of capitalism society through hidden side of consumer society and the reason why modern people are crazy about products, the meaning of product re-creation in tempting modern consumer society, life where all desire is satisfied by products. As a result, we intended to demonstrate that post-industrial society is the one triggered by desire and that society desired in post-industrial society is the very cultural, social study realized to enable modern people to survive in modern society through Martin Parr's pictures.

• Korean Journal of Digital Imaging in Medicine
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• v.5 no.1
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• pp.98-101
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• 2002

대조도와 관용도사이의 손실 교환은 투사 방사선 촬영에 있어서 잘 알려져 있고 또한 오랫동안 지속되어온 영상의 질에 있어서의 제약이었다. 전자적인 영상획득의 도입으로 한 영상 내에 넓은 영역의 X-Tay 노출을 포획하는 것이 가능해 졌다. 그러나, 진단에 필요한 세부영역 들을 위해 적절한 대조도를 유지하는 반면, 일반적으로 기대되는 관용도 범위 이외의 정보가 시각화 되어지는 것과 같은 영상의 rendering과 displaying의 문제가 남아 있었다. 이 문서에 묘사되는 EVP(Enhanced Visualization Processing)는 이 문제를 중점적으로 다룬다. 방대한 진단용 CR 영상 데이터베이스로부터 선택된 14개의 검사유형 당 각각 5개의 영상들을 포함한, 총 70개의 영상들을 사용하여 임상 보고서가 제출되었다. 각 영상에 대해, control rendering은 현재 개발되어 있는 automatic tone scaling algorithm(자동 톤 스케일 알고리즘)에 의해 생성되었고, test rendering은 그 control of image에 EVP를 인가함에 의해 생성되었다. 10명의 radiologist들은 각자 개별적으로 140개의 이미지들(70개의 test renderings와 70개의 control renderings)을 9점의 진단 상의 품질 척도로 평가했다. EVP는 세부 대조도의 부당한 손실 없이 증가된 노출 관용도를 제공했다. 많은 영상에서 EVP는 과소 투과 영역에서의 정보의 손실을 줄여주고, 반면 과다 투과 영역의 밝게 빛나는 현상을 실제적으로 감소시켰다. 진단상의 품질 평가는 EVP image와 control image 모두 평균적으로 높았다. 그럼에도 EVP images의 평균 등위는 control image의 그것보다 1 단계 완전히 높은 범위에 있는 것으로 평가되었다. 쌍으로 그 영상들을 보면, EVP images의 76%가 일치하는 control images의 평가 단계보다 1 또는 그 이상 높은 범주인 것으로 평가되었고, 반면 control image의 6% 만이 일치하는 EVP 영상보다 우수한 것으로 평가되었다. 유사한 결과가 연구된 14개의 검사유형에 대해 획득되었다.

• Korean Journal of Remote Sensing
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• v.39 no.6_1
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• pp.1309-1320
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• 2023

The technological development and popularization of mobile devices have developed so that users can check their location anywhere and use the Internet. However, in the case of indoors, the Internet can be used smoothly, but the global positioning system (GPS) function is difficult to use. There is an increasing need to provide real-time location information in shaded areas where GPS is not received, such as department stores, museums, conference halls, schools, and tunnels, which are indoor public places. Accordingly, research on the recent indoor positioning technology based on light detection and ranging (LiDAR) equipment is increasing to build a landmark database. Focusing on the accessibility of building a landmark database, this study attempted to develop a technique for estimating the user's location by using a single image taken of a landmark based on a mobile device and the landmark database information constructed in advance. First, a landmark database was constructed. In order to estimate the user's location only with the mobile image photographing the landmark, it is essential to detect the landmark from the mobile image, and to acquire the ground coordinates of the points with fixed characteristics from the detected landmark. In the second step, by applying the bag of words (BoW) image search technology, the landmark photographed by the mobile image among the landmark database was searched up to a similar 4th place. In the third step, one of the four candidate landmarks searched through the scale invariant feature transform (SIFT) feature point extraction technique and Homography random sample consensus(RANSAC) was selected, and at this time, filtering was performed once more based on the number of matching points through threshold setting. In the fourth step, the landmark image was projected onto the mobile image through the Homography matrix between the corresponding landmark and the mobile image to detect the area of the landmark and the corner. Finally, the user's location was estimated through the location estimation technique. As a result of analyzing the performance of the technology, the landmark search performance was measured to be about 86%. As a result of comparing the location estimation result with the user's actual ground coordinate, it was confirmed that it had a horizontal location accuracy of about 0.56 m, and it was confirmed that the user's location could be estimated with a mobile image by constructing a landmark database without separate expensive equipment.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.499-505
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• 2022

Recently, the metaverse has been receiving a lot of attention. Metaverse means a virtual space, and various events can be held in this space. In particular, 360-degree video, a format optimized for the metaverse space, is attracting attention. A 360-degree video image is created by stitching images taken with multiple cameras or lenses in all 360-degree directions. When shooting a 360-degree video, a variety of shooting equipment, including a shooting staff to take a picture of a subject in front of the camera, is displayed on the video. Therefore, when shooting a 360-degree video, you have to hide everything except the subject around the camera. There are several problems with this shooting method. Among them, lighting is the biggest problem. This is because it is very difficult to install a fixture that focuses on the subject from behind the camera as in conventional image shooting. This study is an experimental study to find the optimal angle for 360-degree images by adjusting the angle of indoor lighting. We propose a method to record 360-degree video without installing additional lighting. Based on the results of this study, it is expected that experiments will be conducted through more various shooting angles in the future, and furthermore, it is expected that it will be helpful when using 360-degree images in the metaverse space.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.86-93
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• 2009

This study analyzes the systematic visual images and factors in and outside of the main courtyard in Byungsan-seowon. The results are as follows; In terms of space distribution, Ip-kyo-dang is located at an elevation of 85m and the distance to Byung-san is 365m. Byung-san with the mean gradient over $50^{\circ}$ looked so stiff, and the east side of that cliff is higher than west. In terms of the angle of elevation relationship between Man-dae-ru and Byung-san draw 10.5 degree and it suits with human scale. The D/H ratio of 1:3 makes the given place very spacious but the linear stiff shape of Byung-san may cause the feeling of closeness. The results of the visual image analysis of the main yard facing Byung-san is very positive with a score of 1.70 in openness, 1.78 in wideness, 1.96 in beauty, 1.96 in harmony for the spacious arrangement which overall, makes the seowon beautiful with many open spaces. There are 4 main implicated factors analyzed which are uniqueness, aesthetic, openness and nature. Out of the total variables, these factors' descriptive ability is 55.90% and the remaining 44.10% is error and peculiarities variables. The factor which contributed most to Byungsan-seowon's main yard's visual preference was the 'aesthetic' with B-values of 0.661 and 0.455 in the nature category.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.196-206
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• 2011

The development of projection technology produces series of discussions associated to various form of visual immersing possibilities by the way of projecting image directly to the obscure surface surrounded us. Besides, the significance can be found in terms of that this kind of image projection offers chance to citizens to enjoy high standard images and makes people consider media environment of city. Video art as the digital technology grafts penetrates formative space of city by projecting images. The certain thing about questions how the media has status in city is that media is now not existing for self neither for abstractly and virtual reality is existing in the general appearance of metropolis. This paper treats media environment of city and the meaning of image projection as from of video art in the city. It accesses about the meaning of video form visual art in big city- new reality, the virtual and the real, immersion and interactivity. And media reality of metropolis defines that there is not one major discourse in the gigantic text -metropolis rather they are different discourses each other simultaneously compatible in the gigantic text -metropolis and in fact, they affect each other and interact.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.261-275
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• 2013

This study aims to explore the utilizing experience of public support service of the single mothers, who have been assessed as inability in aspect of labor. For this purpose of this study, we had in-depth interview five interviewees who had adolescent children or non-adult children. The participants were from 20s to 50s. From the outcomes of this study, we figured out that they had attempted to escape from the poor realities of life and to help the family budget through their work. However, they could not have plans to fulfill their aims, because of the unhealthy body conditions, the high working costs, the burdens for parenting or child-rearing, and the low levels of working ability. It has been shown that their parenting stresses and depressions from their hard realities have been reinforced, and those psycho-emotional pressures have been projected to connect with the inappropriate disciplines and parenting or child-rearing. And it has been reinforced through utilizing public support service. Consequently, they have become chronic through the repeated disappointment and unhealthy psycho-emotional condition. In this study, we discussed and proposed the labor policies and practical suggestions which have had a close relationship with the efficient judgement systems for work inability.

• The Journal of Korean Institute of Next Generation Computing
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• v.15 no.5
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• pp.75-83
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• 2019

Direct volume rendering is a widely used method for visualizing three-dimensional volume data such as medical images. This paper proposes a method for applying depth-of-field effects to volume ray-casting to enable more realistic depth-of-filed rendering in direct volume rendering. The proposed method exploits a camera model based on the human perceptual model and can obtain realistic images with a limited number of rays using jittered lens sampling. It also enables interactive exploration of volume data by on-the-fly calculating depth-of-field in the GPU pipeline without preprocessing. In the experiment with various data including medical images, we demonstrated that depth-of-field images with better depth perception were generated 2.6 to 4 times faster than the conventional method.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.11
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• pp.1644-1652
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• 2022

In the case of safety training where practical training is impossible due to risk problems, training contents using realistic media such as virtual reality or augmented reality are becoming a new alternative. In this paper, we propose a smoke modeling method that can be applied to safety-training contents implemented with realistic media technology. When an accident occurs in a hazardous area such as a petrochemical plant, visibility is not secured due to gas leakage and fire. In order to create such a situation, it is important to realistically express smoke. The proposed method is a smoke model implementation technique that can be effectively applied to the background of complex passages and devices such as petrochemical plants. In the proposed method, the smoke is expressed using volumetric rendering in the post-processing stage for the resulting image of scene rendering. Implementation results in the background of the factory show that the proposed method produces models that can express the smoke realistically.

• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.