• The Korean Journal of Archival Studies
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• 제27호
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• pp.169-208
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• 2011

In this thesis, I pursued how the concept of documentary photography in Korea was formed, and how Koreans perceive the current mix of some concepts and how they are tracked that. Korean photography society, directly or indirectly, accepted the concept and format of documentary photography of the United States in which information and discussion of the history and concept by examining the process of being transferred to Korea are examined. Giroksajin(記錄寫眞) is a translation word of documentary photography which was a part of documentary movements in the United States of the 1930s, and are all based on that concept. When we order Korean documentary photography and the subject matter must be distinct, attitude toward the things should be based on the exact perceptions of this age awareness, to be able to give enough information, and finally moved forward to move the human emotion must be. When this condition is equipped with the photographers and archivists perspective is revealed clearly the social and historical records that are meaningful. Documentary photography is the subject of the photographers and archivists that want to record the important things, but what you can get in the records and the question of how to use it is also important. Korean documentary photography, not only records the things, just to have a meaningful supplement to get done the exact context of information production and led to the conclusion that the strengthening of documentation strategies.

• Journal of Digital Convergence
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• 제17권3호
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• pp.413-425
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• 2019

We see many images every day, some of these images are stored in memory, and the majority are immersed in the unconscious world. Visual elements are seen by personal attention or by visual or biological attention factors. Specific and clear discovery of this visual attention has not yet been made. However, there is an interesting discussion of this visual attention in the fields of interior, design, visual perception, advertising, and psychology. Advertising photographers are expected to produce what their work will have on viewers and consumers. However, the adjustment of subject, exposure, color, or post-production, which could have a visual effect on the consumer, was determined only by the photographer's senses rather than the experimental verification. The advertisement photographs provide a specific image related to the object to be advertised and deliver a certain message. Therefore, it is necessary to understand the effect of the image in a certain visual way. According to previous studies, there are two major factors that affect the visual impression of the viewer. One is the factor depending on the type and content of the subject and the other is the factor about the density and color of the subject. The purpose of this study is to investigate the meaningful changes in the visual perception depending on the shape, content, color and tone of the subject, which can be called the main subject, And to analyze the effects of I will study some implications of visual elements through various analyzes.

• Journal of the HCI Society of Korea
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• 제14권1호
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• pp.5-13
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• 2019

SNS has been advanced from first to third generation by changing its service format in various ways. Nowadays, image-based SNS such as instagram and pinterest where users communicate via images has become popular as third generation service. Due to the fact that users communicate especially through images, image-based SNS utilizes images in different ways compared to other SNS. This study derived various characteristics of images in image-based SNS, and observed how users perceive each of them differently. Also, relationship between the characteristics and user satisfaction on image-based SNS is analyzed. The characteristics include 6 items; 'implicity', 'recordability', 'expressing identity', 'indirect experience', 'temporary amusement', and 'stimulating desire.' As a result of comparing user perception regarding those 6 characteristics, recordability and indirect experience were highly recognized than other characteristics. Also, according to users' age, motivation of using image-based SNS, and number of followers they have, users perceived each characteristic in different level. Finally, relationship between the characteristics and user satisfaction was analyzed, and the result showed that indirect experience had positive influence to user satisfaction. Regarding indirect experience, it was highly perceived by users and also had positive influence to their satisfaction, which means it is the most typical characteristic of image-based SNS.

• Journal of Conservation Science
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• 제37권2호
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• pp.167-178
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• 2021

For the preservation and efficient content sharing of 5 volumes (2,866 pages) of Yu Kil-Chun's book published in 1971, which provides an important collection of data for the study of modern Korean history during the late 19th century (enlightenment period of Joseon dynasty). The books were purchased and its preservation status investigated and documented electronically by scanning for permanent preservation of content and to determine the condition of preservation at the time of documentation. The degree of deterioration and damage, such as discoloration, hardening, breakage, and damage in these 50 years old modern printed books was quantified through image analysis and made attempts to visualize the damaged areas. It was observed that the degree of deterioration and damage depended on the material and the surface condition of the paper used, the degree of exposure to light, and the storage environment. The comparison of the preservation status at the time of the photographing (or scanning) and judgment as to whether or not the image under investigation was artificially modified was accomplished by comparing the electronically documented images of Seoyugyeonmun (西遊見聞) in Volume 1 of Yu Kil-Chun's works with images provided on other websites. Practical problems encountered while considering the effective preservation of electronically documented data and publicly sharing it, in the course of this study, with other academic researchers around the world were also summarized.

• The Journal of the Korea Contents Association
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• 제21권5호
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• pp.200-220
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• 2021

The purpose of this study was to analyze the scope and content of high school textbooks based on the NCS competency unit criteria. The job competency level of hair beauty is included in the range of Level 1 to Level 5 according to the NCS standard. Among all the 40 units of NCS competency units, the number of them which can be acquired at the high school is 30 units. Among them, high school beauty textbooks were published around 19 competency units, 75% of which corresponded. Only about 85% of all the contents were contained in the text book. Based on the analysis contents, the improvement plan of the textbook is as follows. First, textbooks on 11 competency units that can be acquired at the high school level should be published and the professional curriculum with lessons related to this will be expanded at the same time. Second, there is a need for discussion to establish terminology in the field of Cosmetology. Third, it is necessary to improve the quality of the photographic and illustration materials. Fourth, it should be needed to correct typing errors and maintain a consistent editorial format. The results of this study can be used as basic data need to make curriculum and publish textbooks for high school graduates to perform their jobs at the same time as they get a job.

• Journal of Conservation Science
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• 제37권6호
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• pp.791-800
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• 2021

Photographic images of the Samseong-version (三省本: Korea's Treasure No. 758-1) and the Gongin-version (空印本: Korea's Treasure No. 758-2) of Nammyeongcheon Hwasangsong Jeungdoga (南明泉和尙頌證道歌: Nanmingquan Song Zhengdaoge) were compared and analyzed to investigate the differences between the two versions. According to a report in 2012 at the time of the designation of the Gongin-version as Korea's treasure, both versions were printed from the same woodblocks. The Gongin-version is presumed to be a later print than the Samseong-version. The two versions are very similar in format and shape of border lines and characters. It is difficult to determine the differences with the naked eye, even for experts. In this study, based on the printing characteristics observed from each version through image analysis, useful evidence to determine whether it was printed using the same or different woodblocks and the order of printing was collected. As a result of careful image comparison and analysis, we concluded that the Samseong- and the Gongin-version were printed from different woodblocks, or possibly different typesetting. It was difficult to agree with the content of the report that the Gongin-version was a later print than the Samseong-version. In addition, it was noted that the Gongin-version print has characteristics quite different from the typical characteristics of woodblock printing seen in the Samseong-version. Additional investigations and follow-up studies on the printing technology used for Gongin-version print and the timing of printing are recommended.

• Korean Journal of Heritage: History & Science
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• 제55권3호
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• pp.6-20
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• 2022

The restoration of cultural heritage materials is an important research theme. This study improved the existing cultural heritage restoration method and attempted to establish a restoration system for cultural heritage data based on historical documents and visual materials. Recognizing the limitations of existing studies, this paper attempted to restore cultural heritage data through interdisciplinary research. In addition, 3D restoration was carried out after restoration in 2D form based on literature documents rather than existing visual sources. The object of restoration that was selected was "Jeol," which represents the power of the king of Koguryo. Koguryo's Jeol is a type of flag. Jeol appears in the mural in Anak Tomb No. 3. Rather than using only photographic materials of murals, the restoration was carried out through cross-validation of literature data and materials on archaeological art history. This is important in that the restoration carried out in this study is an accurate restoration with a historical understanding based on the literature of the relevant cultural heritage. In this study, a restoration process based on historical records was established. A 3D restoration process was performed by adding and applying visual materials after the object was first shaped based on the literature data. Restoration based on literature and visual materials was carried out based on interdisciplinary research. Therefore, this study aims to build a digital restoration system for cultural heritages and to contribute to spreading the 3D digital restoration research of cultural heritages that can be applied to various platforms.

• The Korean Journal of Archival Studies
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• 제80호
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• Journal of the Korean Recycled Construction Resources Institute
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• 제12권1호
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• pp.63-71
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• 2024

Through the development of construction technology, various construction projects such as redevelopment projects, undergrounding of roads, expansion of subways, and metro railways are being carried out. However, this has led to an increase in the number of construction projects in existing urban centers and neighborhoods, resulting in an increase in the number of damages and disputes between neighboring buildings and residents, as well as an increase in safety accidents due to the aging of existing buildings. In this study, digital data was applied to a graphics program to objectify the progress of cracks by comparing the creation of cracks and the increase in length and width through photographic images and presenting the degree of cracks numerically. Through the application of the program, the error caused by the subjective judgment of crack change, which was mentioned as a shortcoming of the existing field survey, was solved. It is expected that the program can be used universally in the building diagnosis process by improving its reliability if supplemented and improved in the process of use. As a follow-up study, it is necessary to apply the extraction algorithm of the digital graphic data program to calculate the length and width of the crack by itself without human intervention in the preprocessing work and to check the overall change of the building.

• Cartoon and Animation Studies
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• 통권37호
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.