• Cartoon and Animation Studies
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• s.41
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• pp.429-454
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• 2015

The starting point of this discussion resides in the 'eyes' of mirror in a sense of seeing the self reflected in a mirror. The meaning of mirror has been evolved over the centuries while strengthening its sense of identity by bringing up some questions for resemblance, reproduction, self-reflection and reality. A mirror has also extended its vision and provided with a range of images that the self can't have. In this regard, looking into a mirror has been a sustained focus of attention by creating another ostensible being of self-image. This shows the two sides of mirror, which reveals an ambiguous gap between substance and illusion. An excessive immersion in a reflected image in a mirror is intensified and expressed today. The eyes of mirror consisting of a complex dual structure show relations between a person who sees and a person who is seen, which draws a hazy line of demarcation between the subject and the object. This opens up the possibility of the world of chiasme, where you could face all the aspects being from the eyes of others. Furthermore, the meaning of the reflection in a mirror has formed a creative discourse as an enigmatic medium that creates a variety of 'eyes' in various forms of aesthetic expression like paintings and literature. I accordingly suggest that the 'eyes of mirror' is the ambiguous 'eyes of human being' reflected in two territories of the world. Therefore, I will present the historical development of the perspective on the mirror to take a concrete approach in which it opens up the reflective structure of resemblance through a series of examples projected onto the literary and artistic productions. This study will serve as ruminations on the fact that your life is being existent in 'chiasme' of mutual entanglement between the self and the world by investigating relations between a person who sees and a person who is seen, in other words, relations between the perceiving subject and the eyes of others reflected in a mirror.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.489-494
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• 2017

In spite of lots of differences in the production process of film animation, the animating method through computer is not much different between game animation and film animation. It is because the principles of film animation are also emphasized for the production of game animation. This study aims to consider the line of action showing the direction of movement and flow of energy among many considerations for the character pose work in case when producing game animation. Starting from the basic theory of drawing, the line of action plays a role of bible in the pose work including cell animation and 3D animation. After examining the theoretical background through preceding researches in order to understand the application of the line of action to the pose work of game characters, the poses of hero characters of a 3D online game 'Over Watch' were collected and then lines were directly drawn to analyze them. And as a result, the pose of characters with simple and clear 'Line of action' was good. This study aimed to consider the expression techniques of character pose in the production of game animation, which is expected to be used as an important reference for game animators at work.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.25-42
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• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

• Proceedings of the KSMRM Conference
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• 2002.11a
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• pp.133-133
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• 2002

Purpose： The purpose of paper is to implement software to visualize brain fiber tract using a 24-bit color coding scheme and to test its feasibility. Materials and Methods： MR imaging was performed on GE 1.5 T Signa scanner. For diffusion tensor image, we used a single shot spin-echo EPI sequence with 7 non-colinear pulsed-field gradient directions： (x, y, z)：(1,1,0),(-1,1,0),(1,0,1),(-1,0,1),(0,1,1),(0,1,-1) and without diffusion gradient. B-factor was 500 sec/$\textrm{mm}^2$. Acquisition parameters are as follows： TUTE=10000ms/99ms, FOV=240mm, matrix=128${\times}$128, slice thickness/gap=6mm/0mm, total slice number=30. Subjects consisted of 10 normal young volunteers (age：21∼26 yrs, 5 men, 5 women). All DTI images were smoothed with Gaussian kernel with the FWHM of 2 pixels. Color coding schemes for visualization of directional information was as follows. HSV(Hue, Saturation, Value) color system is appropriate for assigning RGB(Red, Green, and Blue) value for every different directions because of its volumetric directional expression. Each of HSV are assigned due to (r,$\theta$,${\Phi}$) in spherical coordinate. HSV calculated by this way can be transformed into RGB color system by general HSV to RGB conversion formula. Symmetry schemes： It is natural to code the antipodal direction to be same color(antipodal symmetry). So even with no symmetry scheme, the antipodal symmetry must be included. With no symmetry scheme, we can assign every different colors for every different orientation.(H =${\Phi}$, S=2$\theta$/$\pi$, V=λw, where λw is anisotropy). But that may assign very discontinuous color even between adjacent yokels. On the other hand, Full symmetry or absolute value scheme includes symmetry for 180$^{\circ}$ rotation about xy-plane of color coordinate (rotational symmetry) and for both hemisphere (mirror symmetry). In absolute value scheme, each of RGB value can be expressed as follows. R=λw｜Vx｜, G=λw｜Vy｜, B=λw｜Vz｜, where (Vx, Vy, Vz) is eigenvector corresponding to the largest eigenvalue of diffusion tensor. With applying full symmetry or absolute value scheme, we can get more continuous color coding at the expense of coding same color for symmetric direction. For better visualization of fiber tract directions, Gamma and brightness correction had done. All of these implementations were done on the IDL 5.4 platform.

• Proceedings of the KOR-BRONCHOESO Conference
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• 1993.05a
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• pp.89-89
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• 1993

The laryngeal epithelial cell kinetics of 26 laryngeal lesions(invasive squamous cell carcinoma 14, epithelial hyperplasia 5, laryngeal nodule 7) were studied by immunehistochemical analysis with the monoclonal antibody Ki-67, which reacts with nuclear antigen in proliferating cells using paraffin embedded tissue. For DNA analysis, touch implint with fresh biopsy specimens were stained with feulgen and analyzed by image analyzer in 22 cases. 1) The proportion of Ki-67-positive cells were 32.65$\pm$ 11.59% in invasive squamous cell ca, 20.14$\pm$3.38% in epithelial hyperplasia lesion and 11.66$\pm$3.02% in laryngeal nodule. 2) DNA aneuploidy was found in 7 cases of 10(70%) invasive squamous cell carcinomas, 2 cases of 5(40%) epithelial hyperplasia lesions and all cases of laryngeal 3) Proliferation index(S phase+G2/M phase) show 23.42$\pm$11.33% in squamous cell carcinoma, 13.09$\pm$ 10.90% in epithelial hyperplasia lesion and 4.50$\pm$1.19% in laryngeal nodule. As the results, measuring the DNA content from touch imprint method together positivity of Ki-67 antibody from the microtissue during the laryngeal microscopic surgery, cell kinetics can be assessed as an effort of deciding the prognosis and provide a key to the management of precancerous lesions.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.31-36
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• 2020

Corporate Culture Marketing is a marketing tool that enhances a company's cultural image or conveys its image through culture. Culture Consumer value analysis is important predictive data in identifying the value and pursuit of life in individual consumption behavior, explaining the choice behavior of culture consumers, and serves as the basis for decision making. The research method was linked to the text mining and opinion mining techniques of big data, and extracted positive, negative and neutral words. The analysis targets culture consumers participating in concerts at Hyundai Card's 'Super Concert', which is subject to domestic consumers, and CJ ENM's 'KCON', which is subject to foreign consumers. The culture consumer value elements of corporate culture marketing are the basic conditions, and they were derived as 'Consensus Communication (Expression of Sensibility)', 'Participation Sharing(VIP Belonging)', 'Social Change Issue', 'Differentiating Services', 'Price Discount Benefit' and 'Location Quality'. In the future, we will need to foster 'Culture Technology Marketers' and apply them in areas such as arts management planning, cultural investment, cultural distribution, cultural space, Corporate Culture, CSR and K-pop marketing to enhance corporate interests and brand value and enhance brand value.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.369-376
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• 2021

3D architectural visualization animation has become more important in architectural presentations due to the rapid development of digital technology. Unlike games and movies, architectural visualization animation most focuses on delivering visual information, and aims to express the sense of space that viewers feel in an architectural space, rather than simply providing an image of viewing buildings. The sense of space is affected not only by physical elements of architecture, but also by immaterial elements such as light, time, and human actions, and it is more advantageous to express it in animations that can contain temporality compared to a fixed image. Therefore, the purpose of this study is to search for elements to effectively convey a sense of space in architectural visualization animation. To this end, the works of renowned architectural visualization artists that are open to the public were selected and observed to search for elements to effectively convey a sense of space to viewers. The elements that convey the sense of space that are common to the investigated architectural animations can be classified into the movement and manipulation of the camera, the movement of surrounding objects, the change of the light environment, the change of the weather, the control of time, and the insertion of a surreal scene. It will be followed by a discussion on the immersion of architectural contents.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.427-434
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• 2022

The purpose of this study is to create a self-portrait that provides an immersive experience that immerses the viewer into the problem of self-awareness. We propose a method to implement an interactive self-portrait by using audio and image information obtained from viewers. The viewer's voice information is converted into text and visualized. In this case, the viewer's face image is used as pixel information composing the text. Text is the result of a mixture of one's own emotions, imaginations, and intentions based on personal experiences and memories. People have different interpretations of certain texts in different ways.The proposed digital self-portrait not only reproduces the viewer's self-consciousness in the inner aspect by utilizing the intertextuality of the text, but also expands the meanings inherent in the text. Intertextuality in a broad sense refers to the totality of all knowledge that occurs between text and text, and between subject and subject. Therefore, the self-portrait expressed in text expands and derives various relationships between the viewer and the text, the viewer and the viewer, and the text and the text. In addition, this study shows that the proposed self-portrait can confirm the formativeness of text and re-create spatial and temporality in the external aspect. This dynamic self-portrait reflects the interests of viewers in real time, and has the characteristic of being updated and created.

• Journal of IKEEE
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• v.26 no.2
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• pp.160-168
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• 2022

In this paper, we propose a 3D mesh reconstruction method from a single image using deep learning and a sphere shape transformation method. The proposed method has the following originality that is different from the existing method. First, the position of the vertex of the sphere is modified to be very similar to the 3D point cloud of an object through a deep learning network, unlike the existing method of building edges or faces by connecting nearby points. Because 3D point cloud is used, less memory is required and faster operation is possible because only addition operation is performed between offset value at the vertices of the sphere. Second, the 3D mesh is reconstructed by covering the surface information of the sphere on the modified vertices. Even when the distance between the points of the 3D point cloud created by correcting the position of the vertices of the sphere is not constant, it already has the face information of the sphere called face information of the sphere, which indicates whether the points are connected or not, thereby preventing simplification or loss of expression. can do. In order to evaluate the objective reliability of the proposed method, the experiment was conducted in the same way as in the comparative papers using the ShapeNet dataset, which is an open standard dataset. As a result, the IoU value of the method proposed in this paper was 0.581, and the chamfer distance value was It was calculated as 0.212. The higher the IoU value and the lower the chamfer distance value, the better the results. Therefore, the efficiency of the 3D mesh reconstruction was demonstrated compared to the methods published in other papers.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.43-52
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• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.