• 복식
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• 제65권4호
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• pp.76-90
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• 2015

Based on a concept of Nietzschean nihilism, this study aimed at interpreting the nihilism in arts and its expressions, also analyzing the modern fashion collection from the same angle. The research was centered on arts after 1980, when post-modern formal destruction expanded in earnest and on the fashion collection after the 20th century, easily accessible to data. Particularly, it set 1994 nihilism collection by Alexander McQueen, a representative nihilist fashion designer as a starting point. Nietzsche mentioned that true arts may be achieved when Apollonian characteristics including a bodily sensory system and an idealization process and Dionysian characteristics including every human feeling are integrated. Besides, he emphasized the importance of an artist being represented as an image of ${\ddot{U}}bermensch$. The ${\ddot{U}}bermensch$ image, reflected in arts and artistic nihilism, represents themes of violence/death, realistic/unrealistic expressions, human body/inhuman aversion materials and the transmutation of a form. Fashion collection expressions, owing to the special characteristic of the show form unlike other arts, were segmented as a realistic ${\ddot{U}}bermensch$ image using a model in a theme, expression, material and form. The theme of violence/death was divided into the death of human and a society. Human life/death was expressed as destruction of human weakness and self-identity, sexual objectification and violence, and social death as destruction and conflict of a class, nation, culture and nature. As for the expression, it was divided into the realistic expression of the primitive/natural and directing of an unrealistic atmosphere using a show.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2003년도 춘계종합학술대회
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• pp.574-577
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• 2003

본 논문에서는 캐릭터 애니메이션의 효율적인 동작 제어를 위하여 익스프레션을 이용한 애니메이션을 제작하였다. 익스프레션을 이용한 애니메이션은 움직임의 표현에 있어서, 자연스러운 애니메이션을 좀더 쉽고 유용하게 표현하기 위한 방법으로 캐릭터의 동작 제어점들을 분석하여 익스프레션에서 애니메이션을 제어할 수 있는 요소를 찾아 그 식에 사용하였으며, 이것을 토대로 캐릭터의 동작을 자동적으로 제어하는 애니메이션을 구현하였다. 익스프레션에 의한 애니메이션은 간편한 조작으로 자연스럽고 현실적인 움직임을 생성할 수 있다는 익스프레션의 효율성이 장점으로 나타났지만, 애니메이터에 의한 키 프레임 방식에 의한 애니메이션보다는 어색함을 보였다.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 1999년도 하계종합학술대회 논문집
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• pp.651-654
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• 1999

In this paper we propose an emotional expression method using a comic model and special marks for effective sign-language communications. Until now we have investigated to produce more realistic facial and emotional expression. When representing only emotional expression, however, a comic expression could be better than the real picture of a face. The comic face is a comic-style expression model in which almost components except the necessary parts like eyebrows, eyes, nose and mouth are discarded. In the comic model, we can use some special marks for the purpose of emphasizing various emotions. We represent emotional expression using Action Units(AU) of Facial Action Coding System(FACS) and define Special Unit(SU) for emphasizing the emotions. Experimental results show a possibility that the proposed method could be used efficiently for sign-language image communications.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 1999년도 추계종합학술대회 논문집
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• pp.536-539
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• 1999

In this paper we propose a 3D emotional expression method using a comic model for effective sign-language communications. Until now we have investigated to produce more realistic facial and emotional expression. When representing only emotional expression, however, a comic expression could be better than the real picture of a face. The comic face is a comic-style expression model in which almost components except the necessary parts like eyebrows, eyes, nose and mouth are discarded. We represent emotional expression using Action Units(AU) of Facial Action Coding System(FACS). Experimental results show a possibility that the proposed method could be used efficiently for sign-language image communications.

• 인지과학
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• 제11권2호
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• pp.1-10
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• 2000

최근 사용자에게 친근감있는 인터페이스를 제공하기 위해 자연스러운 얼굴 애니메이션에 대한 연구가 활발히 진행 중이다. 얼굴은 인간의 신체부위 중 가장 쉽게 개개인을 구분할 수 있고, 감정과 정서 등의 내적 상태를 명백하게 이해할 수 있도록 해주는 중요한 의사소통의 수단으로 여겨지고 있다. 이러한 얼굴은 이용하여 인간과 컴퓨터간의 의사 전달에 있어서 효율적으로 인간의 감정을 인식하고 전달하여 대화할 수 있도록 하기 위해서 컴퓨터상의 얼굴은 인간과 유사하게 대화할 수 있고, 감정을 표현할 수 있도록 친숙하고 현실감이 있어야 한다. 본 논문에서는 자연스러운 얼굴의 합성을 위한 얼굴 모델링 및 애니메이션 방법을 제안하였다. 특정한 사람을 모델로 한 얼굴 애니메이션을 위하여 우선 3차원 메쉬로 구성된 일반 모델(generic model)을 특성 사람에게 정합하여 특정인의 3차원 얼굴 모델을 얻을 수 있다. 본 논문에서는 기존 연구들과 다르게 표준 한국인 얼굴을 이용한 일반 모델을 생성하여, 임의의 얼굴에 대하여 좀 더 정확하고 자연스러운 3차원 모델이 이루어질 수 있도록 하였다. 그리고 얼굴 표정합성을 위하여, 실제 얼굴의 근육 및 피부 조직 등 해부학적 구조에 기반한 근육 기반 모델 방법을 사용하여 현실감 있고 자연스러운 얼굴 애니메이션이 이루어질 수 있도록 하였다. 이러한 얼굴 모델링 및 합성 기술은 화상회의, 가상현실, 교육, 영화 등 여러 분야에서 활용될 수 있다.

• Journal of Communications and Networks
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• 제18권4호
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• pp.649-657
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• 2016

In this paper, we investigate energy efficiency (EE) of the traditional co-located and the distributed massive multiple-input multiple-output (MIMO) systems. First, we derive an approximate EE expression for both the idealistic and the realistic power consumption models. Then an optimal energy-efficient remote access unit (RAU) selection algorithm based on the distance between the mobile stations (MSs) and the RAUs are developed to maximize the EE for the downlink distributed massive MIMO systems under the realistic power consumption model. Numerical results show that the EE of the distributed massive MIMO systems is larger than the co-located massive MIMO systems under both the idealistic and realistic power consumption models, and the optimal EE can be obtained by the developed energy-efficient RAU selection algorithm.

• 한국콘텐츠학회논문지
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• 제17권12호
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• pp.408-416
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• 2017

본 연구자는 신체 표현 중심의 "나띠야 샤스뜨라" 연기술의 특성에 대해 살펴보고, 이를 현대 배우의 훈련방법으로 활용하는 방안에 대해 모색하고자 하였다. '기호로서의 신체 연기'는 "나띠야 샤스뜨라" 연기술의 주요한 특성으로써 배우가 행하는 각각의 표정, 제스처, 움직임은 특정한 의미를 지닌다. 따라서 그동안 "나띠야 샤스뜨라" 연기술에 관한 연구는 주로 비사실주의적인 표현 양식 혹은 신체 중심의 연기론 분야의 주요한 연구대상으로 다루어졌다. 반면 본문은 비사실주의 연극뿐만 아니라 사실주의 연극에서도 통용될 수 있는 배우훈련의 활용방안에 연구의 주안점을 두었다. 다마지오나 에크만 등의 심리학자에 따르면 정서와 결부된 표정 및 행위를 통해서도 내적 충동이 유발될 수 있다. 또한 배우의 내적 충동을 통한 연기뿐만 아니라 배우의 충실한 외적 정서 표현 역시 관객들의 정서를 촉발할 수 있다. 이러한 사례는 라사를 규정하고 신체적으로 표현하는 "나띠야 샤스뜨라" 연기술을 내적 진실을 고양하는 방법론으로 활용할 수 있다는 심리학적 근거가 될 수 있다. 따라서 "나띠야 샤스뜨라"를 활용한 배우훈련에 관한 연구는 내적 충동과 외적 표현을 통합적으로 지향하는 현대 연기론 연구에서 효과적인 하나의 접근방식으로 적용될 수 있을 것이다.

• 디자인학연구
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• 제17권3호
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• pp.51-60
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• 2004

그로테스크의 미학과 그 오락적 가치는 애니메이션이라는 표현매체가 갖는 특징과 그 속성에서 많은 공통점을 지니고 있으며 이러한 애니메이션에 나타난 그로테스크한 이미지 표현 방식은 현대 이미지 디지털화 기술이 발전하면서 그 표현 영역이 확대되었다. 실사와 애니메이션의 합성, 오브제 애니메이션으로 표현되던 그로테스크 이미지는 Full 3D 애니메이션의 기술, 그리고 모션캡쳐로 인한 가상캐릭터에 대한 현실감 있는 움직임 부여로 좀 더 사실감 있게 그 부조화성을 발전시키고 있다. 그 소재 또한 현대 과학문명의 발달과 더불어 다양해 졌다. 그 한 예가 사이보그 캐릭터의 등장이며 이러한 그로테스크한 이미지는 현대에 이르러 그 여러 특징 중에 인간소외를 다루는 애니메이션에서 주로 등장하기 시작한다. 그리고 이러한 그로테스크 이미지 표현방식의 변화는 향후 영상기술의 발달과 더불어 방법적 양식을 달리하여 VR 형태, 인터랙티브한 영상으로 그 표현매체를 옮기면서 그로테스크한 이미지와 성향은 비인간성을 강조하는 영상장르로 대변되어 갈 것으로 본다

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 한국의류학회지
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• 제29권11호
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• pp.1410-1420
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• 2005

The purpose of this study was to analyze characteristics of effective expression on T-shirts pattern by peirce's semiotic theory. The methods of this study was to analyze 721 T-shirts patterns in designer's collection from 2000 to 2004. The results of this study were as follows: First of all, iconic expression showed high frequency after 2000. Characteristics of effective expression were as follows: In geometric expression, repetition was presented as a symbolic sign by regular proportion and rule of dot, line, plane, irregularity, mixture of irregular dot, line, plane. Mixed expression was presented as a iconic and symbolic sign by collage, mixture of dot, line, plane, icon and letter. In iconic expression, simplification of iconic sigrl was presented as a iconic sign by simplification of form, color, texture, realistic expression using digital as a iconic sign, and symbolic face, body as a symbolic sign. Pop art's expression was presented as a iconic sign by a cartoon and commercial character and illusion was presented as a iconic sign. In letter's expression, brand logo was presented as a symbolic sign by transformation of letter's design, a symbolic sign of numeral by transformation of size, thickness, form, color. Symbolic message phrase was presented by slogan, fashion trend, brand image, descriptive indication message as a index sign by using icon or singleness. In conclusion, characteristics of effective expression on T-shirts pattern will present not only the theoretical foundation to raise the value added, but also the information about beauty sense of times, political and social value.