• 패션비즈니스
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• 제5권5호
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• pp.49-64
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• 2001

Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.

• 전자공학회논문지C
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• 제35C권6호
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• pp.76-87
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• 1998

본 논문에서는 동적 제스처인 수화와 정적 제스처인 지문자가 섞여 있으며 연속으로 수행하는 손 제스처를 실시간으로 인식하는 시스템을 구현하였다. 연속적인 손 제스처는 동작의 시작과 끝에 대한 명확한 표시가 없고 제스처의 형태가 복잡하다. 본 논문에서는 연속적인 손 제스처에서 개별 제스처를 구분하기 위하여 제스처의 속력과 속력 변화를 이용한 상태 오토마타를 구현하였으며, 다양한 손 제스처의 의미를 인식하면서도 확장이 쉬운 시스템을 구현하기 위하여 14가지 손운동, 23가지 손모양, 그리고 14가지 손방향의 기본 요소 인식기를 구현하였다. 양손 사이버글러브와 자장 추적 장치를 이용하여, 구현된 시스템은 131개의 한글수화와 31개의 지문자를 실시간으로 인식하며, 수화의 인식률은 기각인 경우를 제외한 경우 94.3%, 지문자의 인식률은 96.7%에 이른다.

• 미술이론과 현장
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• 제7호
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• 대한지리학회지
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• 제44권3호
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• pp.301-322
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• 2009

본 논문은 국지적 이동성의 도시 기계 공간인 지하철 공간의 기호적 재현을 공간, 시간, 장소의 의미에서 탐구한다. 제2절은 기존 연구에서 제시된 이동성의 도시 공간의 전반적 특징을 '기계 공간', '(비-)장소', '인지 지도'의 개념을 중심으로 검토한다. 제3절은 대구 지하철 공간에 대한 '공간적' 및 '시간적' 재현의 기호들을 해석하고, 그 기호적 재현의 의미를 제시한다. 이를 통해 지하철 공간에 상호 조화적으로 혹은 모순적으로 공존하는 기호 경관들이 그 공간을 다중적, 복합적인 기술-사회 공간으로 생산한다는 것을 밝힌다. 지하철 공간의 공간적-시간적 재현은 한편으로는 '(비-)장소', 다른 한편으로는 '장소'의 공간을 형성하며 또한 한편으로는 '기억', 다른 한편으로는 '망각'의 공간화를 수반한다. 지하철 공간은 사람들이 이동하는 '이동성' 의 공간만이 아니라 기계 및 도시 공간을 바라는 방식에 영향을 주는 '정체성'의 공간으로 생각되어야 한다.

• 대한전자공학회논문지SP
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• 제46권5호
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• pp.126-134
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• 2009

본 논문은 움직이는 차 안에서 교통 표지판을 추적하는 영상 기반 시스템을 기술한다. 제안된 시스템은 복잡한 환경에서 강인한 추적의 성능을 위해 파티클 필터를 기반으로 하는 기본 구조를 가진다. 실제 환경에서 표지판을 실시간으로 추적하는 경우, 장애물에 의한 겹침 현상과 빠르게 변하는 도로 상황 때문에 시계열 데이터인 상태 정보를 예측하는 것은 많은 어려움이 있다. 따라서 본 논문에서는 이러한 단점을 해결하기 위하여 어파인 변환의 파라미터를 상태 정보로 사용한 자기 회귀 모델을 파티클 필터의 상태 전이 모델로써 사용하고, 강인 통계를 사용하여 장애물에 의한 겹침 현상을 판단하여 추적 성능을 향상시키는 알고리즘을 제안한다. 본 논문의 실험 결과에서는 본 논문에서 제안된 방법이 주행 중 실시간 추적을 위하여 효과적이며, 장애물에 의해 표지판이 겹치는 경우에도 추적이 잘 수행됨을 보인다.

• 대한화학회지
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• 제25권5호
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• pp.306-310
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• 1981

라세미코발트(III)착물인 $[Co(en)_3]^{3+},\;[Co(tn)_3]^{3+},\;cis-[Co(NH_3)(en)_2]^{3+},\;[Co({\beta}-ala)(en)_2]^{2+},\;[Co(gly)(en)_2]^{2+}$ 및 [Co(acac)(en)$_2]^{2+}$을 실온에서 d-주석산염의 수용액에 녹여 원편광이색성 spectra를 측정하였다. 측정된 모든 착물에 대해서 가시부영역 (400∼500nm)에 한개의 음의 CD spectrum이 관측되었다. 이것은 d-주석산이온과 ${\Lambda}$-및 ${\Delta}$-거울상이성질체의 상호작용에 대한 차에의한 것이라고 해석되었다. 즉 ${\Lambda}$-및 ${\Delta}$-거울상이성질체에 d-주석산이온을 각각 부가했을때 ${\Lambda}$-거울상이성질체는 크게 변하였고 ${\Delta}$-거울상이성질체는 약하게 변하여 그 결과 유발원편광이색성 spectrum으로 나타났다. 이온교환 관크로마토그래피에 있어서 용리제와 더 강하게 회합하는 거울상이성질체가 관으로부터 더 빨리 용출된다. 만일 chiral음이온과 착물과의 더 강한 상호작용이 착물의 원래 부호로부터 크로마토그래피의 용리순서를 예측할 수가 있고, 실험결과 용리순서는 측정된 모든 착물에 대하여 유발 원편광이색성 spectrum의 부포로부터 예측된 거울상이성질체의 절대구조와 완전히 일치하였다.

• 한국ITS학회 논문지
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• 제3권2호
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• pp.19-28
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• 2004

본 논문은 자연영상에서 얻은 교통표지판의 기울기를 보정하고 텍스트를 추출하는 방법을 제안한다. 본 연구는 명도 이미지를 대상으로 모든 과정이 4단계로 이루어진다. 첫째, 자연 영상에서 에지 검출을 위한 전처리 및 Canny 에지 추출을 수행하며, 둘째, 영상의 기울기를 추출하기 위해 허프 변환에 대한 전처리와 후처리를 한 후, 셋째로 잡음영상과 선을 제거하고 텍스트가 가지고 있는 특징을 이용하여 후보영역 검출을 한다 마지막으로 검출된 텍스트 후보영역 안에서 지역적 이진화를 수행한 후, 불필요한 비텍스트 연결 요소를 추려내기 위해 텍스트와 비텍스트 간의 연결요소에 나타나는 특징 차이를 이용하여 텍스트 추출을 수행한다 100장의 샘플영상을 대상으로 실험한 결과 82.54$\%$ 텍스트 추출률과 79.69$\%$ 추출 정확도를 가짐으로써 기존의 런 길이 평활화 방법이나 퓨리어 변환을 이용한 방법보다 더 정확한 텍스트 추출 향상을 보였다. 또한 기울어진 각도 추출에서도 94.3$\%$의 추출률로 기존의 Hough 변환만을 이용한 방법보다 약 26$\%$의 향상을 보였다. 본 연구는 시각 장애인 보행 보조 시스템이나 무인 자동차 운행에 있어 위치 정보를 제공하는데 활용할수 있을 것이다.

• 복식
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• 제50권4호
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• pp.131-146
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• 2000

The starting point of this study was that the Orientalism reflected in the modern clothing is realized the different view by Western and Eastern. Based on this regard, this study semiotically analyse that clothing is creating the cultural values and signification and that the western designers are reproducing an ideology as orientalism being the western-oriented thought when expressing the Asian image in the modern clothing. The theoretical sides are based on the semiotic analyses of F. Saussure, C. Peirce, and R. Barthes. By the result observed through this study, the Orientalism reflected in the modern clothing designed by Western designers are discriminative image, mystic image, past-oriented image, natural image, and complex-eclectic image. The discriminative image is reproduced as a savage and uncivilized image. In addition, it regarded as a decorative and superficial image is expressed as if it is an uncharacterized and underdeveloped image in the modern clothing. The mystic image is reproduced as a romantic image to stimulate Westerners'curiosity. That is, Asian image is regarded as a dream and magical image rather than a scientific and rational image. The past-oriented image is expressed through restricting Asian positive image in Asian historical glory. The natural image differs from Western image based on science in the modern clothing. The modern clothing regards the natural image as a primitive and instinctive image. The complex-eclectic image is the pastish pattern through selecting and distributing heterogeneous materials in the modern clothing. This study critically analyzes the western-oriented thought of orientalism in the modern clothing. The results of the study imply that it is critical that we provide a new contact point for the East and the West in the context of our Asian values and traditions.

• Journal of Pharmaceutical Investigation
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• 제19권3호
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• pp.163-171
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• 1989

To investigate the protein binding characteristics of cephalothin, the effects of ionic strength, pH and temperature on the binding of cephalothin to bovine serum albumin (BSA) were studied by UV difference spectrophotometric method. With increasing ionic strength at constant PH and temperature, association constant decreased, but the number of binding sites sites was about 2 constantly. It may be deduced that the binding process is not only due to electrostatic forces. And the increased association constant at high ionic strength is explained by conformational changes of BSA from complex to subunits. The pH effect on the affinity of interaction indicated that the binding affinity of drug is higher in the neutral region than in the alkaline region. And, at high pH value, the number of binding sites decreased from 2 to 1 because of the conformational changes of BSA in alkaline region. The decrease in binding affinity of BSA to drug with increasing temperature was characteristic of an exothermic reaction. And the negative sign of ${\Delta}G^{\circ}$ meant that the binding process occurs spontaneously under the experimental conditions. In cephalothin-BSA complex formation, since the net enthalpy change value and entropy change value are positive, it is assumed that hydrophobic bindings are predominant in this binding process.