• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.818-823
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• 2006

본 연구에서는 디지털 콘텐츠와 물리적 미디어가 유기적으로 결합할 수 있는 가능성을 모색하고자, 입출력 일체화 개체인 'I/O 셀(Cell)'과 그 집합체인 '텐저블 게임 콘솔(Tangible Game Console)'을 개발하였다. I/O 셀은 여러 종류의 센서와 액츄에이터가 하나의 물리적 노드 내에 통합되어 있는 개체로, 이 I/O 셀 다수를 집적하면 다양한 크기와 용도의 엔터테인먼트 미디어를 구성하는 것이 가능하다. 그 중 하나로 개발된 텐저블 게임 콘솔은 일종의 센서-액츄에이터 집합체로 셀들 사이의 연계를 통해 다양한 물리적 정보를 인식하고 표현할 수 있다. 텐저블 게임 콘솔은 기존 게임 콘텐츠의 주요한 표현 수단이었던 이미지와 텍스트 정보 대신에 물리적 정보를 통해 게임 콘텐츠를 구성하며, 조작대상과 조작수단이 일체화되어 있고, 또한 음악, 퍼즐, 액션 등 다양한 장르의 게임 콘텐츠가 적용 가능하다는 특징을 가지고 있다. 텐저블 게임 콘솔에서는 불, 바람, 물, 생명체 등의 물리적 현상을 형상/움직임/소리/빛 등을 통해 재현하며, 사용자는 이를 때리기/바람불기/흔들기/기울이기 등의 직접적인 조작을 통해 체험할 수 있다. 또한 물리적인 상호작용 과정이 일정한 게임 규칙을 가지고 구성되어 있어 지속성 있는 놀이 경험을 제공한다. 본 연구에서는 텐저블 게임 콘솔의 콘텐츠로 음악, 액션, 대전게임 등을 개발하였으며, 이 콘텐츠들의 놀이경험을 평가함으로써, 텐저블 게임 콘솔의 발전 가능성을 확인하였다.

• Journal of the Korean Society for Nondestructive Testing
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• v.17 no.4
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• pp.248-261
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• 1997

Ultrasonic pattern recognition is the most effective approach to the problem of discriminating types of flaws in weldments based on ultrasonic flaw signals. In spite of significant progress in the research on this methodology, it has not been widely used in many practical ultrasonic inspections of weldments in industry. Hence, for the convenient application of this approach in many practical situations, we develop an intelligent ultrasonic signature classification software which can discriminate types of flaws in weldments based on their ultrasonic signals using various tools in artificial intelligence such as neural networks. This software shows the excellent performance in an experimental problem where flaws in weldments are classified into two categories of cracks and non-cracks. This performance demonstrates the high possibility of this software as a practical tool for ultrasonic flaw classification in weldments.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.01a
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• pp.283-286
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• 2014

본 논문에서는 카메라형 OCR (Optical Character Reader) 기술을 이용해 오프라인 중고서점의 효율적 장서관리 시스템을 구축하기 위한 디지털 데이터화 관리시스템 방안을 제안한다. OCR은 광학적으로 인식할 수 있는 문자를 컴퓨터가 읽을 수 있도록 하는 기술이다. 원리적으로 문자 한 개를 수십 개의 모눈으로 분할해 특정한 모눈의 흑백 또는 자획형상 특징에 의해 문자를 판독한다. 이 논문에서는 OCR 기술을 활용함으로써 디지털 데이터화의 효과는 물론 적용 환경의 개선효과를 기대해 볼 수 있는 오프라인 중고서점 시장을 목표로 했다. 오프라인 중고서점에서 보유하고 있는 장서의 디지털 데이터화는 기업형 중고서점과의 경쟁에 있어서도 생존을 위해 필요한 요소이다. 카메라형 OCR 기술을 활용한 장서 디지털 데이터화는 오프라인 중고서점 판매자가 도서재고 검색 및 판매 관리 효율을 높이도록 도와줄 뿐 아니라, 도서판매 유형, 소비자 분석과 수요 예측을 가능하게 한다. 또한 소비자에게 오프라인 중고서점에서 보유하고 있는 희귀 장서와 중고서적들을 검색해 구입할 수 있는 편의를 제공할 것이다. 오프라인 중고서점 판매를 촉진하고 활성화시킨다면 출판의 선순환적 구조를 만드는 데 기여할 것으로 예상된다.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Journal of Korea Multimedia Society
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• v.9 no.7
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• pp.872-893
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• 2006

In this study, I classify the elements of physiognomic judgment of character with regard to form and meaning from a visual perspective based on physiognomic judgment of character study in 'the cosmic dual forces and the Five Elements theory'. Individual characters for each type are designed using graphic data. Based on that, design system of individual characters for each personality type is investigated using Neural Network system. Faces with O-Haeng (Five Elements) shapes are shown to constitute the system with ${\pm}0.3%$ degree of error tolerance for the non-loaming input data. For the shapes of Chinese characters 'tree, fire, soil, gold and water', their MSE(Mean Square Error) are 0.3, 0.3, 0.2, 0.5, 0.2. It seems to be the best regarding the scoring system which ranges from 0 to 5. Therefore, this system might be regarded to produce the most accurate facial shape of character automatically when we input character's personality we desire to make.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.164-179
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• 2014

The Buddhas of the Three Words in a form of arranging Bhaiṣajyaguru and $Amit{\bar{a}}bha$ at its side based on ${\acute{S}}{\bar{a}}kyamuni$ at the center is enshrined in Daeungbojeon Hall of Daeheungsa Temple located at Haenam. So far, this Buddhas of the Three Words has been known as a wooden Buddha statue. However, as a result of X-ray screening, in left/right Buddha statues excepting main Buddha, wood and molding clay layer were observed at the same time. Therefore, this study intended to observe its internal structure, grafting method and to clarify making technique of Buddha statue during Joseon era based on image information being obtained through X-ray screening of The Buddhas of the Three Words of Daeheungsa Temple. As its result, it was revealed that form of ${\acute{S}}{\bar{a}}kyamuni$ was completed by mainly grafting 5 pieces of timber and this statue shows a typical wood grafted Buddha statue during Joseon era. Form of Bhaiṣajyaguru and $Amit{\bar{a}}bha$ were completed based on molding technique by applying clay on sculpture similar to its appearance after sculpturing more than 10 pieces of timber through its grafting. In other words, internal timber is considered to play a role of its core and grafting method of timber is more close to a technique of molding Buddha statue than to that of wooden Buddha statue during Joseon era. However, clay was directly applied on timber thinly, not applying clay thickly on it after winding straw rope on wooden core and its characteristic is that its facial area was completely composed of wooden construction only. Therefore, it is hard to rule out a possibility that the original sculpturing intention of an artist might be a wooden Buddha statue but in view of the fact that a word, 'molding' was used in a record of relics buried in statue, it could be seen that this Buddha statue might have been recognized as a molding statue at the time when creation of this statue was completed. It is considered that number of case of making statue based on this technique would be more increased when more results of X-ray screening should be accumulated and if more data should be collected, it would provide a significant evidence for identifying chronological, regional aspects of making technique of Buddha statue.

• (The)Study of the Eastern Classic
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• no.56
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• pp.267-295
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• 2014

The purpose of this paper was to introduce the material status of women's epistolary literature published in modern study materials for writing letters in Chinese in 1920~30s and analyze gender consciousness shown in them. To this end, five kinds of representative modern study materials for writing letters in Chinese in 1920~30s were selected and 55 women's letters published in them were summarized. Through this, it was pointed out that the subjects of women's epistolary literature are mainly 'males' of families and the form of 'reply.' This implies that the authors of modern study materials for writing letters in Chinese recognized women's Chinese letters as a secondary means to prepare for inevitable communication with men rather than the leading medium of communication. The first aspect of gender consciousness shown in women's epistolary in modern study materials for writing letters in Chinese is to reaffirm the traditional gender order by calling and resetting women as the position and role in the family. The second aspect of gender consciousness is that female education materials which seemed to reflect the modern gender order are actually mentioned under the very skeptical view. The third characteristic aspect of gender consciousness is that the motif of 'discipline about economic activity' is only noticeable in women's epistolary published in modern study materials for writing letters. This setting was regarded as a means that the authors of modern study materials for writing letters in Chinese transferred the responsibilities of maintaining livelihood and managing household to women. Women's epistolary in modern study materials for writing letters in Chinese is the material which is noticeable in terms of showing the possibility of female Chinese Writing in modern times but according to the analysis of this paper, it is the text showing female form and women's writing judged within thoroughly male-centered imagination. That is, women's epistle text has a significance that allows us to read conservative reentry of modern study materials for writing letters in Chinese more clearly.

• Journal of Korean Society of Forest Science
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• v.100 no.2
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• pp.202-211
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• 2011

The geometric characteristics of step-pool structures and how they are influenced by channel characteristics were investigated in a steep mountain stream in the Experimental Forests of Kangwon National University in Chuncheon, Gangwon-do. Average values of steps for the study reaches were as follows: step spacing, 4.69 m; step height, 0.47 m; step drop, 0.71 m; step-forming particle sizes, 0.68 m; number, 21steps/ 100 m; the ratio of step spacing to channel width, 0.5; and step steepness, 0.13. Relationships between spacing and height of steps and channel gradient showed a negative- and positive correlation, respectively, whereas all geometric variables of steps manifested poor correlation with channel width. Therefore, step steepness, expressed as the ratio of step height to step spacing, increased as channel gradient increased. The ratio of step steepness to channel gradient representing the criterion of maximum flow resistance was 1.2, indicating the channel bed's stable condition. In particular, the relationship between the ratio of step drop to step height and channel gradient showed a significant negative correlation, suggesting the influence of step-pool geometry in trapping sediment and providing an aquatic habitat. Positive correlations also exist between spacing and drop of steps and step particles. Our findings suggest that the dynamics of step-pool structures may strongly control physical and ecological environments in steep mountain streams, so understanding them is essential for stream management.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.