• Journal of the Institute of Electronics Engineers of Korea SP
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• v.48 no.3
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• pp.62-70
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• 2011

Nowadays image sensor is an essential component in many multimedia devices, and it is covered by a color filter array to filter out specific color components at each pixel. We need a certain algorithm to combine those color components reconstructed a full color image from incomplete color samples output from an image sensor, which is called a demosaicking process. Most existing demosaicking algorithms are developed for ideal image sensors, but they do not work well for the practical cases because of dissimilar characteristics of each sensor. In this paper, we propose a new demosaicking algorithm in which the color filter characteristics are fully utilized to generate a good image. To demonstrate significance of our algorithm, we used a commerically available sensor, CBN385B, which is a sort of Honeycomb-style CFA(Color Filter Array) CCD image sensor. As a performance metric of the algorithm, PSNR(Peak Signal to Noise Ratio) and RGB distribution of the output image are used. We first implemented our algorithm in C-language for simulation on various input images. As a result, we could obtain much enhanced images whose PSNR was improved by 4~8 dB compared to the commonly idealized approaches, and we also could remove the inclined red property which was an unique characteristics of the image sensor(CBN385B).Then we implemented it in hardware to overcome its problem of computational complexity which made it operate slow in software. The hardware was verified on Spartan-3E FPGA(Field Programable Gate Array) to give almost the same performance as software, but in much faster execution time. The total logic gate count is 45K, and it handles 25 image frmaes per second.

• The Research Journal of the Costume Culture
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• v.22 no.4
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• pp.579-594
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• 2014

The areas of fashion research and fashion design aesthetics & fashion history have been studied under a common research heading as a Humanities subject in the UK and the USA, and as Clothing and Textiles Studies in Korea. The purpose of this paper was to analyze the 2004~2013 research tendencies in terms of reporting methods and contents from 181 world-renowned Fashion Theory research papers within the UK and USA fashion research corpus, and 359 Korean research papers from The Research Journal of Costume Culture related to fashion design aesthetics & costume history field. The subject areas, periods, methodologies, and differences in the topics of the studies were examined. The results of the research are as follows. Regarding the research authorship and length of the research papers, in Fashion Theory most papers were written by a single English-speaking or other foreign language-speaking author and were on average longer than 21 pages, while in The Research Journal of Costume Culture, many papers were jointly written by two Korean researchers and were between 11 and 20 pages. Regarding the content, Fashion Theory was connected to relatively wide and diverse periodical and regional boundaries including the body, clothing, the fashion media, and the overall fashion system, while The Research Journal of Costume Culture revolved around the body and clothing, textiles, the fashion media, and costumes. In addition, since the late $20^{th}$ century, the studies appeared to be related to the current Western world overall or to the country of the author. Regarding the research methodology, Fashion Theory used diverse research subjects and methodologies, and research was conducted on topics relating to fashion culture or fashion aesthetics. On the other hand, The Research Journal of Costume Culture featured relatively more dynamic studies aimed at suggesting developments or solutions to problems. It was found that a large share of that research focused on detailed style analyses and suggestions for aspects such as design elements and design developments. Such differences are considered to be caused by the inherent differences between the academic departments for the Humanities, and the Human Ecology. The above research results are expected to provide fundamental information in setting a direction for future research to assist the globalization of domestic research.

• Archives of design research
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• v.15 no.2
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• pp.91-100
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• 2002

Unlike a study related in language alone, rhetorical study of current time, composed with multi-culture, medias, communication, presents its own field that covers from the form of discourse(persuasive) to another form of discourse(not persuasive). If there was a study of making beautiful sentences for story and finding simple method of speech in Greek and roman period of an ancient time, it now a study in which one finds the essence of literary style or terminology in the expression of sentence. The taller case is especially important, given that the importance of what to express visually is on-going active procedure of this stuffy as itself an activity of communication. When a visual object persuades viewers, the activity of communication derives them to react and to understand the intention of an artist. The matter of how to speak is the matter of how to shape message persuasively. This persuasive method or technique is study of rhetoric. The three aspects (figurative, accentuating, mutating) of rhetorical expression of an illustration, the visual image can give fresh feelings to be in intimate relations with public. These rhetorical expressions also vitalize the story that is expressed on illustration with crisp image. It helps to attain expected effects while discovering essential meaning through the corresponding linguistic interpretation of an image. The study aims at the most effective way to communicate by figuring the most strong and direct illustrative message out. One of the method is to patternize illustrative expressions that are established from all kinds of shapes of Rhetoric. Therefore ,an operation of significance and an implication can shape an ultimate goal of this study from acknowledging the mechanism that modern illustration embraces.

• Journal of Broadcast Engineering
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• v.13 no.4
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• pp.544-553
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• 2008

With the development of video editing technology, there are growing uses of overlay text inserted into video contents to provide viewers with better visual understanding. Since the content of the scene or the editor's intention can be well represented by using inserted text, it is useful for video information retrieval and indexing. Most of the previous approaches are based on low-level features, such as edge, color, and texture information. However, existing methods experience difficulties in handling texts with various contrasts or inserted in a complex background. In this paper, we propose a novel framework to localize the overlay text in a video scene. Based on our observation that there exist transient colors between inserted text and its adjacent background a transition map is generated. Then candidate regions are extracted by using the transition map and overlay text is finally determined based on the density of state in each candidate. The proposed method is robust to color, size, position, style, and contrast of overlay text. It is also language free. Text region update between frames is also exploited to reduce the processing time. Experiments are performed on diverse videos to confirm the efficiency of the proposed method.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Cartoon and Animation Studies
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• s.45
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• pp.367-396
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• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Archives of design research
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• v.11 no.1
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• pp.219-228
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• 1998

Seymour Chwast, who has worked in various fields as in illustrator, graphic designer, and art director since 1950's, opened a new possibility in the field of visual design. Pushpin Graphics, founded by Chwast and his collegues, played a vital role in experimentation based on their creativity and courage. Amazingly enough his field covers Illustration, graphic design, poster, typography, and publication. His works, in which he sa tired people or events severely using his own lanb'Uage styit', appeals public powerfully and is remembered for a long time. He gives various forms to his creative ideas throughout many fields he deals with including caricature, giving all designers fresh and b'Teat inspiration. The fact that Chwast dose not limit himself to anyone style but uses various styles freely indicates his creative thinking process. The Creative Thinking, which is embedded in all his works, is so interesting and tactful that it may fulfill the requirement of the times, which wants to see something new and epochmaking. The aim of this study is to find creativity of Chwast's new visual language and its meaning through the analysis of unique caricatures among his works based on his philosophy, creative work process, and, particularly, creative thinking.

• Journal of Gifted/Talented Education
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• v.26 no.1
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• pp.1-20
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• 2016

This study explored the cognitive characteristics and learning needs of economically disadvantaged gifted students. Gifted students(n=99), economically disadvantaged gifted students(n=43), and non-gifted students(n=50) participated in intelligence and creativity tests, and took self assessments of meta-cognition, epistemological beliefs, learning style preferences, and personal time usage. Superior abstract reasoning ability of economically disadvantaged gifted students was found because their scores on Raven's Test had risen rapidly compared to the other groups. Economically disadvantaged gifted students showed similar high scores as the gifted student on the Torrance Tests of Creativity Thinking-Figural, but not on Verbal. They were found to have a perception of the positive relationships among effort, learning abilities, and values of learning integrated knowledge with a general plan. However, they showed lower meta-cognitive control abilities than the gifted students in learning management and strategies, epistemological beliefs in value of rational operations, and time usage for learning. It is necessary to assign economically disadvantaged gifted students a task with various step by step methods of approach because these students prefer a new and creative task to difficult ones. Instruction plans such as developing language and meta-cognitive abilities and practical application of learning content was proposed.

• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.