• 미술이론과 현장
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• 제3호
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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.

• 조형예술학연구
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• 제12권
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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.

• 인지과학
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• 제23권2호
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• pp.133-164
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• 2012

폴 처칠랜드는 인지신경생물학과 연결주의 AI의 연구 성과로부터, 상태공간 표상이론을 제안하였다. 그 표상이론에 따르면 세계의 다양한 현상들에 대한 우리의 표상은 신경세포 또는 신경세포집단의 활동에 대응하는 위상 상태공간의 지점들로 재현될 수 있다. 그러한 표상 체계를 모의하는 연결주의 AI 신경망은 은닉유닛들 속에 우리가 세계를 인지할 의미론의 범주 체계를 담아내는 것으로 해석된다. 그러한 해석의 관점에 따르면, 신경망은 세계에 대한 범주체계를 은닉 유닛들이 갖는 위상 상태공간의 특정 지점이라고 주장한다. 그러나 포도와 르포르는 그러한 전망을 어둡게 본다. 그의 전망에 따르면, '차원의 개별화' 가능성, 내용 동일성의 '분석/종합 구분'의 측면, 그리고 '부차적 정보'에 따른 상태공간의 상이성 등을 고려할 때 새로운 표상이론은 의미론적 내용 동일성을 주장하기 어렵다. 그 상태공간 표상은 유사성의 기준을 전제하기 때문이다. 본 논문은 처칠랜드 표상이론의 제안과 포도와 르포르의 비판 중에 어느 것이 더 설득력을 갖는지 검토한다. 상태공간 표상이론에 대한 필자의 이해에 따르면, 인공 그물망은 학습알고리즘에 따라서 스스로 내용 유사성의 분별 기준을 조성한다. 이러한 근거에서 포도와 르포르의 지적은 처칠랜드 표상이론에 대한 적절한 공격이 되지 못한다. 또한 그 표상이론은 미래의 인공지능 시스템이 의식 이하의 수준에서 세계를 인지할 개념체계를 어떻게 담아낼 수 있을지 우리에게 이해를 제공한다. 따라서 우리는 앞으로 인지과학 연구의 초점을 무엇에 집중해야 할지도 전망할 수 있게 되었다.

• 미술이론과 현장
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• 제10호
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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.

• 대한토목학회논문집
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• 제11권4호
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• pp.143-150
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• 1991

이 논문은 대규모인 약 2,000점(미지수 약 4,000개)의 평면 측지망을 조정할 수 있는 프로그램을 개발하는데 목적이 있다. 데이터의 저장 및 관리에는 희박행렬(sparse matrix)의 기법이 사용되었으며, 관측방정식에는 RR(C)U (Row-Wise Representation Complete Unodered)방식, 정규방정식에는 RR(U)U(Row-Wise Representation Upper Unodered) 방식을 도입하고 해법에는 수정 Cholesky법을 적용하였다. PC 386에서 개발된 이 프로그램은 정밀 2차 기준점망인 테스트망에 적용되었으며, 2차원 배열을 사용한 Cholesky 분해법 및 직교분해법을 채용한 프로그램과의 상대적인 비교분석이 이루어졌다. 연구의 결과에서는 희박행렬의 기법이 기억용량의 면에서 뿐만 아니라 처리시간에 있어서도 극히 효과적인 기법임을 보여주고 있다.

• 한국인쇄학회지
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• 제20권1호
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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.

• 한국지능시스템학회논문지
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• 제19권4호
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• pp.499-503
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• 2009

Y. R$\acute{e}$ball$\acute{e}$ [11]교수는 쇼케이적분 기준에 의한 필요측도의 표현에 관해 조사한다. 또한 쇼케이적분 표현관 관련된 필요측도의 순위를 결정 연장을 생각한다. 이 논문에서, 우리는 결정연장이 쇼케이 기대효용에 따른 애매한(구간치로 명명함) 필요측도를 가지는 경우를 생각한다. 더욱이, 구간치 필요측도에 대한 단조 집합치 함수를 갖는 기호에 대한 약 쇼케이적분표현과 필요측도에 대한 구간치 효용함수를 갖는 기호에 대한 강 쇼케이적분 표현에 대한 두 가지 정리를 증명한다.

• Current Optics and Photonics
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• 제4권3호
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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.

• 한국의류산업학회지
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• 제13권3호
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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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• 제17권1호
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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 $P=\{0,2,3,4,{\cdots}\}$.