• Smart Structures and Systems
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• v.25 no.3
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• pp.369-384
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• 2020

A wavefield sparse reconstruction technique based on compressed sensing is developed in this work to dramatically reduce the number of measurements. Firstly, a severely underdetermined representation of guided wavefield at a snapshot is established in the spatial domain. Secondly, an optimal compressed sensing model of guided wavefield sparse reconstruction is established based on l₁-norm penalty, where a suite of discrete cosine functions is selected as the dictionary to promote the sparsity. The regular, random and jittered undersampling schemes are compared and selected as the undersampling matrix of compressed sensing. Thirdly, a gradient projection method is employed to solve the compressed sensing model of wavefield sparse reconstruction from highly incomplete measurements. Finally, experiments with different excitation frequencies are conducted on an aluminum plate to verify the effectiveness of the proposed sparse reconstruction method, where a scanning laser Doppler vibrometer as the true benchmark is used to measure the original wavefield in a given inspection region. Experiments demonstrate that the missing wavefield data can be accurately reconstructed from less than 12% of the original measurements; The reconstruction accuracy of the jittered undersampling scheme is slightly higher than that of the random undersampling scheme in high probability, but the regular undersampling scheme fails to reconstruct the wavefield image; A quantified mapping relationship between the sparsity ratio and the recovery error over a special interval is established with respect to statistical modeling and analysis.

• Journal of Practical Agriculture & Fisheries Research
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• v.21 no.2
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• pp.103-114
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• 2019

In this study we examined the preferences of college life factors for students at Korea National College of Agriculture and Fisheries(KNCAF). Analytical techniques of unstructured data used opinion mining and text mining techniques, and the results of text mining were visualized as word cloud. And those results were used for statistical analysis of the students' willingness to farm after graduation. The items of the favorable survey consisted of 10 items in 5 areas including university image, self-capacity, dormitory, education system, and future vision. After classifying the emotions of positive and negative in the collected questionnaire, a dictionary of positive and negative was created to evaluate the preference. The items of 'college image' at the time of university support, 'self after 10 years' after graduation, 'self-capacity' and 'present KNCAF' showed high positive emotion. On the other hand, positive emotion was low in the items of 'college dormitory', 'educational course', 'long-term field practice' and 'future of Korean agriculture'. In the cross-analysis of the difference in the will to farming according to gender, farming base, and entrance motivation, the will to farm according to gender and entrance motivation showed statistically significant results, but it was not significant in farming base. Also in binary logistic regression analysis on the will to farming, the statistically significant variable was found to be 'motivation for admission'

• Cartoon and Animation Studies
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• s.31
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• pp.153-176
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• 2013

In the early 20th century, the some of futurist painter was attempted to represents the 'fast-paced' and 'dynamism' on a two-dimensional picture. The expression of fast-paced and dynamic for look like move image in the painting have evolved as a variety of visual symbol. Visual symbols that represent these movements were settled as the line of the most movement expression in the comic. The of Toriyama Akira gained worldwide popularity is emphasized speed and dynamism as the action genre in cartoon, is nice a data to research the line of the movement expression of cartoon. There is three terms as the action line, The speed line, the effect line on the movement expression in The glossary of in the dictionary of , but it not easy to Separate them by means similar. This study is willing to says the semantically problem of previous lines on the movement expression and to present a new alternative in order to study the line on the movement expression of . This study Separate the line on movement expression from symbolic the perspective and try to newly define by using, was classified lines of four kinds by add the afterimage line on existing the speed line, the motion line, the effect line. First, the speed line was defined as 'The line expressing the movement expression of a moving target as the concept of speed'. It on the way of expression was subdivided the direct as speed line when it alter the shape of the target and the indirect speed line when it alter the background of the target. Second, the motion line was defined as 'The line simplified the moving form or the moving path of moving target'. Third, the effect line was defined as 'the line emphasizing the movement expression of a moving target by Sensory expression or emotional expression. Fourth, the afterimage lines was defined as 'The line expressing slowly moving or swaying the movement expression of target to the afterimage effect. The terminology presented in this study will be able to help the understanding of the line on the movement expression .

• Journal of the Ergonomics Society of Korea
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• v.36 no.2
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• pp.123-144
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• 2017

Objective: The objective of this study is to evaluate affection on how users perceive colors viewed from an automotive visual display according to cultural and radical differences including North America, Europe, and Southeast Asia. This study especially aims to identify effects of the variation of tone and chroma of representative color groups by analyzing affection differences depending on cultural and racial differences targeting the colors constituted through variation of tone and chroma, centered on representative colors. Background: The colors of the menu, information display or background viewed through an automotive visual display are an important factor stimulating consumer's affection, and therefore an effort to express the vehicle's brand and product image through colors is made. The studies on colors focus only on the research on unique characteristics of colors, but an affective approach lacks according to cultural and racial differences on colors considering tone and chroma variation within a color from the currently used automotive visual displays. Method: To grasp the visual affection felt by users, this study extracted affective adjectives related with colors through existing literature and a dictionary for adjectives, and presented human affection dimensions on colors through evaluation of various colors. Prior to carrying out affection evaluation, the basic light sources, red (R), green (G), and blue (B) constituting the colors used for automotive visual displays were defined as a representative color group, respectively. When colors in a color group are constituted, the evaluation target of each color group consisted of the colors considering the variation of tone and chroma by changing color sense through RGB values of the remaining two light sources. And then, this study carried out affection evaluation on the constituted colors targeting the subjects with cultural and racial differences. Results: As a result of evaluating the constituted colors with representative affections, there were statistically significant differences between the groups having cultural and racial differences. As a result of S-N-K post-hoc analysis on the colors showing significant differences, North America and Europe were classified as heterogeneous groups. In some cases, Korea was classified as the homogeneous group with North America, but Korea was mainly classified as the homogenous group with Europe. Conclusion: The representative affections on colors from an automotive visual display was drawn as three affective dimensions: passionate, neat, and masculine. Based on these, the affection of Korea and Europe on the constituted colors showed significant differences from that of North America, as a result of affection evaluation on the constituted colors viewed through the visual display by reflecting cultural and racial factors. Regarding representative color groups, bigger cultural and racial differences were revealed in terms of affection on red and green colors than on blue color, and variation of affection was the biggest in the red color. Application: This study analyzed correlations of affection considering the colors constituted through variation of tone and chroma, and the culture and race in the representative color groups constituting a visual display. The results of this study are predicted to be utilized in coordination and selection of colors viewed from an automotive visual display taking into account culture and race.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.69-78
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• 2013

A Korean MP3player also has become complex multimedia device which can provide various functions such as DMB, image playback, radio, electronic dictionary, storage device, and Internet. However, these functions are not provided through one-time mediation. Therefore, studying which changes were made for obtaining or installing these functions and what made such changes possible will be a basis to approach the change factors of medium through medium. Ultimately, by enabling to access the factors of cultural and social changes through MP3player, the main point of this study, it will be a methodological attempt to study a social aspect through medium. This study approached re-mediation according to the genealogical change of MP3player. This study researched the change of media through mediation of MP3player, and approached the change in social contextuality through this. The factors for which a medium is changed are various, but in the change of MP3 player there is re-mediation of each medium in addition to technical change. That is, it is deemed that there are 're-mediation among devices' and 'socially contextual re-mediation' in the change through re-mediation of MP3player.

• Industry Promotion Research
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• v.7 no.1
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• pp.59-74
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• 2022

There are three main ways to interpret Zhouyi(周易). The first is to interpret it as a number, the second is to interpret it as an image symbolized by the Gwae(卦), and the third is to interpret it as the moral reason contained in it. Although YulRyeo(律呂) is not as widely known as Zhouyi, its use in ancient times was the same as that of the main character. First, the mathematical analysis method using the three-pronged method for tuning musical instruments, second, the symbolic interpretation using the musical meaning symbolized by YulRyeo, and third, the applied interpretation method that expands to the moral reason contained in YulRyeo. The purpose of this thesis is to organize the dictionary meaning of YulRyeo and various meanings of ancient YulRyeo. In addition, by studying ancient literature on the meaning of YulRyeo's magic spell mechanics(術數易學) and Naepeum and Five Elements(納音五行), which is the origin of Gobeop Myongriology, I classify and interpret them in detail. and to find ways to apply it to Myongriology. It is hoped that this study will give a more in-depth understanding of YulRyeo and will be of little help to related studies such as the mechanics of magic and Myongriology studies in the future.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.