• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Korean Journal of Cognitive Science
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• v.23 no.2
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• pp.133-164
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• 2012

Paul Churchland(1989) suggests the theory of representation from the results of cognitive biology and connectionist AI studies. According to the theory, our representations of the diverse phenomena in the world can be represented as the positions of phase state spaces with the actions of the neurons or of the assembly of neurons. He insists connectionist AI neural networks can have the semantical category systems to recognize the world. But Fodor and Lepore(1996) don't look the perspective bright. From their points of view, the Churchland's theory of representation stands on the base of Quine's holism, and the network semantics cannot explain how the criteria of semantical content similarity could be possible, and so cannot the theory. This thesis aims to excavate which one is the better between the perspective of the theory and the one of Fodor and Lepore's. From my understandings of state space theory of representation, artificial nets can coordinates the criteria of contents similarity by the learning algorithm. On the basis of these, I can see that Fodor and Lepore's points cannot penetrate the Churchlands' theory. From the view point of the theory, we can see how the future's artificial systems can have the conceptual systems recognizing the world. Therefore we can have the perspectives what cognitive scientists have to focus on.

• The Journal of Art Theory & Practice
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• no.10
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.11 no.4
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• pp.143-150
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• 1991

This paper presents an overview of a system of computer programs for the solution of a large geodetic network of about 2,000 stations. The system arranges the matrices in systematic sparse form which is applied to observation equations of RR(C)U (Row-wise Representation Complete Unordered) type and to normal equations of RR(U)U (Row-wise Representation Upper Unordered) type. The solution is done by a Modified Cholesky's algorithm in view of large networks. The implementation program are tested in PC-386 by korean new secondary networks, the results show that the sparse techniques are highly useful to geodetic networks in core-storage management and processing time.

• Journal of the Korean Graphic Arts Communication Society
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• v.20 no.1
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• pp.146-158
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• 2002

JPEG is good for full color representation but is poor in quality of image because of the small size and the losing compression ways. GIF is a kind of format style made for image - transmission in Compuserve which is a method of PC communication in U. S. A and now is used in world wide web owing to the efficiency of file compression and transmission. But GIF only is used 256 colors, so the images in web has a poorer quality of colors effect to be compared with those of printed catalogues. Also there can be licence problems when the images is used for commercial uses because the possession is Compuserve. The PNG is a way that the total advantages of JPEG and GIF. PNG image file is a more skillful (bitmap display unit), shows a high quality image like TIFF image about, gives superior compression , a 10% to 30% represents full color, 256 color, gray like JPEG. GIF file which uses LZW compression file is a thing which pays licence, In other hands, PNG is free from licence and more skillful image processing method against image error, and it is possible to conserve the color information. Therefore, this treatise is about how various images which are utilized for commercial printings in web, can be made into PNG files about the compression file. And the representation of image by compared the G]U images with JPEG images as well as compression file and the representation of image the superiority of color representation. In addition, 1 check out how much ranges the PNG files are available for electronic publish printing.

• Journal of the Korean Institute of Intelligent Systems
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• v.19 no.4
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• pp.499-503
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• 2009

Y. R$\acute{e}$ball$\acute{e}$ [11] discussed the representation of necessity measure through the Choquet integral criterian. He also consider a decision maker who ranks necessity measures related with Choquet integral representation. In this paper, we consider a decision maker have an "ambiguity"(say, interval-valued) necessity measure according to their Choquet's expected utility. Furthermore, we prove two theorems which are weak Choquet integral representation of preferences with a monotone set function for interval-valued necessity measures and strong Choquet integral representation of preferences with an interval-valued utility function for necessity measures.

• Current Optics and Photonics
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• v.4 no.3
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• pp.210-220
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• 2020

Aiming at the problem that the Local Sparse Difference Index algorithm has low accuracy and low efficiency when detecting target anomalies in a hyperspectral image, this paper proposes a Weighted Collaborative Representation and Sparse Difference-Based Hyperspectral Anomaly Detection algorithm, to improve detection accuracy for a hyperspectral image. First, the band subspace is divided according to the band correlation coefficient, which avoids the situation in which there are multiple solutions of the sparse coefficient vector caused by too many bands. Then, the appropriate double-window model is selected, and the background dictionary constructed and weighted according to Euclidean distance, which reduces the influence of mixing anomalous components of the background on the solution of the sparse coefficient vector. Finally, the sparse coefficient vector is solved by the collaborative representation method, and the sparse difference index is calculated to complete the anomaly detection. To prove the effectiveness, the proposed algorithm is compared with the RX, LRX, and LSD algorithms in simulating and analyzing two AVIRIS hyperspectral images. The results show that the proposed algorithm has higher accuracy and a lower false-alarm rate, and yields better results.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.

• Korean Journal of Mathematics
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• v.17 no.1
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• pp.25-36
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• 2009

We compute spectrums of left regular isometries and weighted left regular isometries of a strongly perforated semigroup $P=\{0,2,3,4,{\cdots}\}$.