• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• The Journal of the Acoustical Society of Korea
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• v.20 no.4
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• pp.35-41
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• 2001

This paper describes Linear Discriminant Analysis and common vector extraction for speech recognition. Voice signal contains psychological and physiological properties of the speaker as well as dialect differences, acoustical environment effects, and phase differences. For these reasons, the same word spelled out by different speakers can be very different heard. This property of speech signal make it very difficult to extract common properties in the same speech class (word or phoneme). Linear algebra method like BT (Karhunen-Loeve Transformation) is generally used for common properties extraction In the speech signals, but common vector extraction which is suggested by M. Bilginer et at. is used in this paper. The method of M. Bilginer et al. extracts the optimized common vector from the speech signals used for training. And it has 100％ recognition accuracy in the trained data which is used for common vector extraction. In spite of these characteristics, the method has some drawback-we cannot use numbers of speech signal for training and the discriminant information among common vectors is not defined. This paper suggests advanced method which can reduce error rate by maximizing the discriminant information among common vectors. And novel method to normalize the size of common vector also added. The result shows improved performance of algorithm and better recognition accuracy of 2％ than conventional method.

• Journal of Korean Society of Environmental Engineers
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• v.35 no.4
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• pp.247-256
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• 2013

In this study, alginate beads containing birnessite (Bir-AB), a highly reactive oxidative catalyst for the transformation of phenolic compounds, was prepared and its 1-naphthol (1-NP) removal efficiency was investigated in a batch test. Based on scanning electron microscopy image, it can be inferred that the alginate gel cluster acts as a bridge which bind the birnessite particles together. Kinetic experiment with Bir-AB of different mixing ratios of birnessite to alginate (Bir : AG=0.25 : 1~1 : 1 w/w) indicate that pseudo-first order kinetic constants, $k(hr^{-1})$ for the 1-NP removals increased about 1.5 times when the birnessite mixing ratio was doubled. The removals of 1-NP was found to be dependent on solution pH and the pesudo-first order rate constants were increased from 0.331 $hr^{-1}$ at pH 10 to 0.661 $hr^{-1}$ at pH 4. The analysis of total organic carbon for the reaction solutions showed that a higher removal of dissolved organic carbon was achieved with Bir-AB as compared to birnessite. HPLC chromatographic analysis of the methanol extract after reaction of 1-NP with Bir-AB suggest that the reaction products could be removed through incorporation into the aliginate beads as a bound residue. Mn ions produced from the oxidative transformation of 1-NP by birnessite were also removed by sorption to Bir-AB. The Bir-AB was recovered quantitatively by simple filtration and was reused twice without significant loss of the initial reactivity.

• Journal of Intelligence and Information Systems
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• v.27 no.3
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• pp.175-197
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• 2021

Recently, with the development of deep learning technology, research on unstructured data analysis is being actively conducted, and it is showing remarkable results in various fields such as classification, summary, and generation. Among various text analysis fields, text classification is the most widely used technology in academia and industry. Text classification includes binary class classification with one label among two classes, multi-class classification with one label among several classes, and multi-label classification with multiple labels among several classes. In particular, multi-label classification requires a different training method from binary class classification and multi-class classification because of the characteristic of having multiple labels. In addition, since the number of labels to be predicted increases as the number of labels and classes increases, there is a limitation in that performance improvement is difficult due to an increase in prediction difficulty. To overcome these limitations, (i) compressing the initially given high-dimensional label space into a low-dimensional latent label space, (ii) after performing training to predict the compressed label, (iii) restoring the predicted label to the high-dimensional original label space, research on label embedding is being actively conducted. Typical label embedding techniques include Principal Label Space Transformation (PLST), Multi-Label Classification via Boolean Matrix Decomposition (MLC-BMaD), and Bayesian Multi-Label Compressed Sensing (BML-CS). However, since these techniques consider only the linear relationship between labels or compress the labels by random transformation, it is difficult to understand the non-linear relationship between labels, so there is a limitation in that it is not possible to create a latent label space sufficiently containing the information of the original label. Recently, there have been increasing attempts to improve performance by applying deep learning technology to label embedding. Label embedding using an autoencoder, a deep learning model that is effective for data compression and restoration, is representative. However, the traditional autoencoder-based label embedding has a limitation in that a large amount of information loss occurs when compressing a high-dimensional label space having a myriad of classes into a low-dimensional latent label space. This can be found in the gradient loss problem that occurs in the backpropagation process of learning. To solve this problem, skip connection was devised, and by adding the input of the layer to the output to prevent gradient loss during backpropagation, efficient learning is possible even when the layer is deep. Skip connection is mainly used for image feature extraction in convolutional neural networks, but studies using skip connection in autoencoder or label embedding process are still lacking. Therefore, in this study, we propose an autoencoder-based label embedding methodology in which skip connections are added to each of the encoder and decoder to form a low-dimensional latent label space that reflects the information of the high-dimensional label space well. In addition, the proposed methodology was applied to actual paper keywords to derive the high-dimensional keyword label space and the low-dimensional latent label space. Using this, we conducted an experiment to predict the compressed keyword vector existing in the latent label space from the paper abstract and to evaluate the multi-label classification by restoring the predicted keyword vector back to the original label space. As a result, the accuracy, precision, recall, and F1 score used as performance indicators showed far superior performance in multi-label classification based on the proposed methodology compared to traditional multi-label classification methods. This can be seen that the low-dimensional latent label space derived through the proposed methodology well reflected the information of the high-dimensional label space, which ultimately led to the improvement of the performance of the multi-label classification itself. In addition, the utility of the proposed methodology was identified by comparing the performance of the proposed methodology according to the domain characteristics and the number of dimensions of the latent label space.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.22-53
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• 2020

This paper analyzes the contents, characteristics, and historical significance of the dedicatory inscriptions (josanggi) on the Amitabha Buddha and the Maitreya Bodhisattva statues of Gamsansa Temple, two masterpieces of Buddhist sculpture from the Unified Silla period. In the first section, I summarize research results from the past century (divided into four periods), before presenting a new perspective and methodology that questions the pre-existing notion that the Maitreya Bodhisattva has a higher rank than the Amitabha Buddha. In the second section, through my own analysis of the dedicatory inscriptions, arrangement, and overall appearance of the two images, I assert that the Amitabha Buddha sculpture actually held a higher rank and greater significance than the Maitreya Bodhisattva sculpture. In the third section, for the first time, I provide a new interpretation of two previously undeciphered characters from the inscriptions. In addition, by comparing the sentence structures from the respective inscriptions and revising the current understanding of the author (chanja) and calligrapher (seoja), I elucidate the possible meaning of some ambiguous phrases. Finally, in the fourth section, I reexamine the content of both inscriptions, differentiating between the parts relating to the patron (josangju), the dedication (josang), and the prayers of the patrons or donors (balwon). In particular, I argue that the phrase "for my deceased parents" is not merely a general axiom, but a specific reference. To summarize, the dedicatory inscriptions can be interpreted as follows: when Kim Jiseong's parents died, they were cremated and he scattered most of their remains by the East Sea. But years later, he regretted having no physical memorial of them to which to pay his respects. Thus, in his later years, he donated his estate on Gamsan as alms and led the construction of Gamsansa Temple. He then commissioned the production of the two stone sculptures of Amitabha Buddha and Maitreya Bodhisattva for the temple, asking that they be sculpted realistically to reflect the actual appearance of his parents. Finally, he enshrined the remains of his parents in the sculptures through the hole in the back of the head (jeonghyeol). The Maitreya Bodhisattva is a standing image with a nirmanakaya, or "transformation Buddha," on the crown. As various art historians have pointed out, this iconography is virtually unprecedented among Maitreya images in East Asian Buddhist sculpture, leading some to speculate that the standing image is actually the Avalokitesvara. However, anyone who reads the dedicatory inscription can have no doubt that this image is in fact the Maitreya. To ensure that the sculpture properly embodied his mother (who wished to be reborn in Tushita Heaven with Maitreya Bodhisattva), Kim Jiseong combined the iconography of the Maitreya and Avalokitesvara (the reincarnation of compassion). Hence, Kim Jiseong's deep love for his mother motivated him to modify the conventional iconography of the Maitreya and Avalokitesvara. A similar sentiment can be found in the sculpture of Amitabha Buddha. To this day, any visitor to the temple who first looks at the sculptures from the front before reading the text on the back will be deeply touched by the filial love of Kim Jiseong, who truly cherished the memory of his parents.

• Cartoon and Animation Studies
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• s.33
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• pp.503-529
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• 2013

The commemorative AR postage stamps which are the world first presented at The YEOSU EXPO 2012 has had meaning of communicating with future in this present from a convergence that the most analog medium is using now and that the AR is cutting edge of digital technology. The AR stamps printed 10 kind out of 33 commemorative stamps. These have great significance that is artistic value than that is world first. The applied AR images are not only expressed 3D real images but also artic represented and signifying each stamp images from visualized creativity process, and build 'new art space' that is new concept between on real(analog) and virtual(digital). This study analyzes meaning of images and then makes concept of AR contents design. The processing is designed and considered the meaning of architectures and environments, and the regional specific feature of the Yeosu with surrealistic graphic concept. The 10 of deducted images were expressed after AR coding such as visual arts. This study realized markerless 3D image tracking AR stamps and deducted research result are; the first, it was able to figure out how to realize AR in the process of registering the reference images, coordinating transformation, and hybriding AR on the stamps for the mobile devices. The second, it was able to be seeked a possibility of new virtual exhibition space. The third, it was able to know possibility of satisfaction of immersing with visual formativeness and usability with informativity.

• Journal of architectural history
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• v.12 no.3
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• pp.163-179
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• 2003

The records of about 60 travel essays of the Hall of Bhaisajyaguru(Healing) Budda which was built in Chung Yang Temple passed down since 1525. The chronological change of that Hall architecture according to each period was traced upon. The building structure of the Hall of Bhaisajyaguru Budda which has a roundabout way, and 6 pillars inside, sometimes each 6 pillars inside and outside is hexagonal, one story building in Japanese colonial period(picture 3-1) or the present(picture 3-3). The panaromic picture of Chung Yang Temple shows no alterations of the layout of buildings(picture 1-1), in which the Hall of $Praj{\tilde{n}}{\bar{a}}$(般若殿), the main building in the center and the Hall of Bhaisajyaguru(Healing) Budda, three story stone pagoda, stone lighthouse in front of it became the central axis. The Hall of Bhaisajyaguru(Healing) Budda remained as it was until Japanese invasions in 1592 and 1597. However, it was greatly damaged by the flood in 1717. It was newly built by Lee Ha Gon's leading in 1717-1732. At that time, the interior design was changed. With Bhaisajyaguru(Healing) Budda, 53 Buddhas and ${\acute{S}}arira$ of Stone stupa which show itself by the flood in 1717 was located in the image of the Mountain of Chunchuk or Cheontae like Yu Jeom Temple. The doors of this Hall are located in the front and back. In the four walls each, two realistic and cubic buddhism pictures were drawn, The color of those picture was partly taken off in 1671 and repainted in 1714. The new building in 1717-1732 regained its colorful appearance. However, the names written beside each Images of Buddha disappeared. The notable remark in these records is that some of these travel essays in 17th-18th centuries was calling this hexagonal hall as the octagonal one. It is very important records because it means that before 1525 the octagonal hall might have existed. Chung Yang Temple was rebuilt between 1976 and 1985 after the destruction in the Korean War. After the records are carefully read, the full scale excavation about this historic site was not done yet. The interesting issue of the existence of octagonal building will be resolved by the full scale excavation.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.1
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• pp.127-142
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• 2018

Ttukseom was once a suburban area that had a government horse ranch for national use and a naenogpo (area of royal farm land). During the Japanese colonial period, a pleasure ground was built at Ttukseom, and after independence, it has been used as a park through the process of urbanization. This study examines the creation of the Ttukseom Pleasure Ground and the process through which the pleasure ground were transformed to a park. This study also explores its landscape and cultural aspects. In the 1930s, Gyeongseonggwedo (京城軌道), a private railway company, built a pleasure ground at Ttukseom to attract passengers, according to the business model of Japanese railway companies, in which recreational areas were developed near railway routes. Mass media portrayed this area as a "rural landscape" in contrast to the city. The Ttukseom Pleasure Ground emerged as a popular summer resort for Gyeongseong citizens. At the same time, it was managed by Gyeongseongbu (京城府). The city of Seoul began to manage the Ttukseom Pleasure Ground following independence, and development plans for Ttukseom as a pleasure ground or a park were continuously drafted but never implemented. Even after Korea's independence, the operation and use of the pleasure ground did not change significantly from the colonial era. In the late 1980s, the Ttukseom Pleasure Ground became the Ttukseom Han River Citizen's Park, and the sandy beach of the Han River was removed. Nonetheless, the previous facilities and major activities such as an open-air swimming pool, camp ground, and areas for boat recreation remained as major park programs. When the urbanization of Ttukseom was completed, its idyllic image disappeared and it became a park instead of a pleasure ground. Since parks expand their programs, it can be concluded that by providing those kinds of programs, the Ttukseom Pleasure Ground transformed to a park.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.33 no.1
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• pp.31-43
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• 2015

This study had been aimed to conduct the camera calibration on VLBI antenna in the Space Geodetic Observation Center of Sejong City with a low-cost digital camera, which embedded in a mobile phone to determine the three-dimension position coordinates of the VLBI antenna, based on stereo images. The initial values for the camera calibration have been obtained by utilizing the Direct Linear Transformation algorithm and the commercial digital photogrammetry system, PhotoModeler $Scanner^{(R)}$ ver. 6.0, respectively. The accuracy of camera calibration results was compared with that the camera calibration results, acquired by a bundle adjustment with nonlinear collinearity condition equation. Although two methods showed significant differences in the initial value, the final calibration demonstrated the consistent results whichever methods had been performed for obtaining the initial value. Furthermore, those three-dimensional coordinates of feature points of the VLBI antenna were respectively calculated using the camera calibration by the two methods to be compared with the reference coordinates obtained from a total station. In fact, both methods have resulted out a same standard deviation of $X=0.004{\pm}0.010m$, $Y=0.001{\pm}0.015m$, $Z=0.009{\pm}0.017m$, that of showing a high degree of accuracy in centimeters. From the result, we can conclude that a mobile phone camera opens up the way for a variety of image processing studies, such as 3D reconstruction from images captured.