• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• The KIPS Transactions:PartB
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• v.12B no.2 s.98
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• pp.157-166
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• 2005

In 3D virtual environment the description of character' s movement that has utilized the conventional key-frame technique is gradually being developed toward the application of motion control method to generate more realistic and natural motion. Even the motion control method, however, has the limitation for expression of character's motion adapted to the ground properties of virtual world. That is, the walking motions of character are not only, for the most part, so uniform simple and repeated often as to feel to be tedious, but also the unnatural motion in which the tips of the toes soak through a plane or float in the air discording with the conditions of terrain lowers the semblance of reality. This paper proposes an adaptive motion control method for human figure locomotion in virtual environments or games, in which the walking motion is dynamiccally adapted to the ground's sliding properties. We compute an optimal parameters for one cycle of walking motion adapted to the ground properties by combining the coefficient of friction and centripetal force, and therefrom we induce a set of nonskid speed corresponding to various sliding properties of the ground.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.347-350
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• 2010

With the advent of new media era we are living in the world of motion picture image is not an exaggeration. With the development of the mass media with images and moments that passed the day feeling like part of it is communication. In this era a sensual and shapeable image more than the logical and realistic thinking may be passed. In the act of seeing a moving image, prior to linguistic and conceptual meaning, color and screen configuration delivery and formative element in the change they produce is first recognized. Particular kind of video animation having the narrative structure, this territory effect greatly. the film even more significant effect on the area and linking the image of the scene transitions in the scheme also features a simple means of natural communication functions are being expanded. These transitional effects provide visual pleasure from a simple transition traditional methods. And In terms of narrative functions performed to help a narrative flow of availability, visual representation should continue.

• KIPS Transactions on Software and Data Engineering
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• v.2 no.3
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• pp.209-218
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• 2013

Early researches in human action recognition have focused on tracking and classifying articulated body motions. Such methods required accurate segmentation of body parts, which is a sticky task, particularly under realistic imaging conditions. Recent trends of work have become popular towards the use of more and low-level appearance features such as spatio-temporal interest points. Given the great progress in pose estimation over the past few years, redefined views about pose-based approach are needed. This paper addresses the issues of whether it is sufficient to train a classifier only on low-level appearance features in appearance approach and proposes effective pose-based approach with pose estimation for emotional action recognition. In order for these questions to be solved, we compare the performance of pose-based, appearance-based and its combination-based features respectively with respect to scenario of various emotional action recognition. The experiment results show that pose-based features outperform low-level appearance-based approach of features, even when heavily spoiled by noise, suggesting that pose-based approach with pose estimation is beneficial for the emotional action recognition.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.23 no.9
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• pp.1104-1109
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• 2019

Business utilization of holograms is widely used as a similar hologram. The use of holograms has been proposed in many cases. In this paper, we present an outline of similar holograms using up to 3 or 4 facets, and express the similar holograms using the results produced by 3D modeling for a building from dealing with the representation of buildings from hololens to pseudo-hologram by using 3D modeling results. In addition, to reflect the real image of the disadvantage of modeling, we propose a method to enhance the 3D expression of the object by reflecting the actual building surface on the 3D model through photographing. Virtual building seen by the human eye can be virtually shown in space through a hologram among various methods shown in a virtual space such as AR / VR / MR. Through this study, it will be possible to express holograms of various materials such as buildings or cultural properties with enhanced realism.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2019.05a
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• pp.479-481
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• 2019

In recent years, training systems in various industrial fields have been made using virtual reality (VR) technology and widely used in education. Virtual reality based training system is safe, there is no waste of material, and there are many advantages to be able to practice anytime and anywhere. For example, virtual reality welding training simulation system is widely used for field worker because it can perform actual joining of steel plate in immersive environment. At this time, realistic representation of the steel plate joint is important to maximize the effectiveness of the training, but existing techniques have limited the natural expression of the effect. In this study, we propose a method of visualizing joint effect based on shader in order to construct welding training system. The results of this study can be applied to the welding training system to improve the weld training effect to provide the user with high-quality visualization.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.217-247
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• 2012

This essay attempts to read Melville's Moby-Dick as a prefiguration of American pragmatism, especially Jamesian version of it. Underlying this project is the assumption that the American Romance and James's pragmatism partake in the enduring tradition of American thoughts and imagination. Despite the commonality in their roots, the continuity between these two products of American culture has received few critical assessments. The American Romance has rarely been discussed in terms of American pragmatism in part because critics have tended to narrowly define the latter as a kind of relativistic philosophy equivalent to practical instrumentalism, political realism and romantic utilitarianism. Consequently, they have favored literary works in the realistic tradition for their textual analyses, while eschewing a more imaginative genre like the American Romance. My contention is that James's version of pragmatism is a future oriented pluralism which is unable to dispense with the power of imagination and the talent for seeing unforeseen possibilities inherent in nature and culture. James's pragmatism is in tune with the American Romance in that it savours the attractions of alternative possibilities created by the genre in which the imaginary world is imbued with the actual one. The pragmatic impulse in Moby-Dick finds its finest expression in the words and acts of Ishmael. Through this protean narrator, Melville renders the text of Moby-Dick symbolic, fragmentary and thereby pluralistic in its meaning. With his rhetoric of incompletion and by refraining from totalizing what he experiences, Ishmael shuns finality in truth and entices the reader to join his intellectual journey with a non-foundational notion of truth and meaning in view. Ishmael also envisages pragmatists' beliefs that experience is fluid in nature and the universe is in a constant state of becoming. Yet Ishmael as the narrator of Moby-Dick is more functional than foundational.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.147-155
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• 2022

This article analyzed the new changes Hong Kong director Lin Chaoxian has brought to theme films of Mainland China and the factors affecting these changes. The objects of the analysis are Lin Chaoxian's films (2016), (2018), and (2020). Compared with Mainland China directors suffering from heavy political burden, Dante Lam directed theme films based on the model from commercial films and adopted lots of elements from Hong Kong films. There, the ideology expression in these theme films was no longer rigid, but a diversified value embodiment resonating with the audience. At the same time, these theme films achieved higher commercial value, in which the stereotyped and unrealistic hero images were replaced by realistic and compound characters, and the display of cool or violent action scenes contributed to lots of visual feasts. All the changes were influenced by the audience preferences and the development of private enterprises in Mainland China.