• Fashion & Textile Research Journal
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• v.22 no.2
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• pp.240-249
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• 2020

This study reviews studies that used skin temperature in order to establish an emotion evaluation protocol based on skin temperature for home appliances. A survey of skin temperature evaluation papers was conducted by the following five stages: (1) keyword search, (2) title screening, (3) abstract screening, (4) full paper screening, and (5) relevance evaluation. Selected papers were reviewed for: purpose, recruitment criteria of participants, the number of participants, apparatus, procedure, measures, analysis methods, and major findings. Thermistor sensors and thermography are used for the measurement of skin temperature. Skin temperature sensors are attached to 4 - 10 locations on the body and their mean of skin temperature is calculated by Ramanatan's 4-point or Hardy & Dubois's 7-point method. Semantic differential (SD) method and thermography measuring facial surface temperature have been used for emotion evaluation. The SD method provides a set of adjective pairs related to a product and evaluates changes in emotion from the use of the product. The range of facial surface analyzed is defined in the thermal image and temperature changes before and after the evaluation are analyzed. The evaluation items of home appliances include form, color, material, aesthetics, satisfaction, novelty, convenience, pleasantness, and excellence. Many existing emotion studies using skin temperature do not apply physiological and psychological methods. This study provides basic data to establish a skin temperature and emotion evaluation protocol by examining literature for skin temperature and evaluation of sensitivity.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.15 no.3
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• pp.35-41
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• 2015

In order to solve the problems that fingerprinting technologies and image identification technologies for digital music and videos identification scanned have not yet been enough to identify scanned cartoon books, the copyright project granted from the Korea Copyright Commission(Project title: Identification and Copy Protection Technology of Scanned Text/Comic Books) secured basic solutions for scanned cartoon books. The first result of the research project in 2013 was focused on the identification technology applied to abnormally scanned cartoon books. As subsequent research for the project, studies in the year of 2014 has been to provide solutions to identify cartoon books which abnormally scanned and occurred with transformations and distortions and solutions to protect the system from trials to devitalize functions of the identification system through various attacks. This paper is to propose a model for a system for identifying abnormally scanned cartoon books as a way of enhancing the identification rates for identifying abnormal bookscans and transformation attacks.

• Cross-Cultural Studies
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• v.37
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• pp.51-79
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• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.726-743
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• 2021

This study tried to examine the fashion design and style of representative K-Pop boy groups BTS and SEVENTEEN appearing on music shows. The data collection was conducted on 4 music programs(Inkigayo, Music Bank, Show! Music Core, M COUNTDOWN) and YouTube(www.youtube.com) for each boy who worked for 5 years from January 2016 to December 2020. Result analysis utilized the stage scenes and music videos of the title songs of BTS and Seventeen. As for the fashion design and style characteristics of BTS, it was found that overall, the color, pattern, and decoration of the bottom were minimized, and the style was changed mainly by the top of the denim pants. As for Seventeen's fashion design and style characteristics, it was analyzed that plain simple slacks, bright and modest chromatic colors, and geometric and stylistic patterns with street retro sensibility were relatively emphasized, and natural and romantic images appeared a lot. As a result of examining the differences in fashion design and style characteristics between BTS and Seventeen, significant differences were found in color, tone, color scheme, material type, material combination, detail, trimming, pattern, accessories, and fashion image. Overall, it was found that both groups minimized the use of decorative elements such as patterns, details, and trimmings.

• Journal of the Korea Society of Computer and Information
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• v.14 no.6
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• pp.1-10
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• 2009

Flash memory has the advantages of nonvolatile, low power consumption, light weight, and high endurance. This enables the flash memory to be utilized as a storage of mobile computing device such as PMP(Portable Multimedia Player). Potable device with a mass flash memory can store various multimedia data such as video, audio, or image. Typical index systems for mobile computer are inefficient to search a form of text like lyric or title. In this paper, we propose a new text index system, named EMTEX(Embedded Text Index). EMTEX has the following salient features. First, it uses a compression algorithm for embedded system. Second, if a new insert or delete operation is executed on the base table. EMTEX updates the text index immediately. Third, EMTEX considers the characteristics of flash memory to design insert, delete, and rebuild operations on the text index. Finally, EMTEX is executed as an upper layer of DBMS. Therefore, it is independent of the underlying DBMS. We evaluate the performance of EMTEX. The Experiment results show that EMTEX can outperform th conventional index systems such as Oracle Text and FT3.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of Digital Convergence
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• v.16 no.9
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• pp.365-374
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• 2018

This study aims at understanding the components of on-line newspaper and how each newspaper's layout configuration is differentiated through the analysis on the websites of 10 general daily newspapers in the news stand of NAVER. The collection of data was implemented twice, and One-Way ANOVA was used as an analyzing way. The content of the analysis was carried out based on the types of visual images, the number of photo-based articles and title-based articles, the size of image for the main story, etc. As a result of analysis, the rate of news articles with the audios, videos, cards and slides differentiated from paper-based newspaper was low, and also the news articles using the informative graphics and the graphic sources were very small in number. As a whole, the newspapers in the news stand of NAVER showed that they attempt to make a distinction of their newspaper layout by using a variety of editorial techniques. The significance of this paper is to offer a basic clue to the editing formation to promote the news consumption of newspapers. Under the circumstance that the ecology of media is rapidly being reformed by new media technology, the continuous study of how the newspaper layout should be changed will be needed.

• Journal of Internet Computing and Services
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• v.19 no.1
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• pp.97-103
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• 2018

In oriental paintings, there is Luo-kuan that expressed in a single picture by compressing the artist's information. Such Luo-kuan includes various information such as the title of the work or the name of the artist. Therefore, information about Luo-kuan is considered important to those who collect or enjoy oriental paintings. However, most of the letters in the Luo-kuan are difficult kanji, kanzai, or various shapes, so it is difficult for the ordinary people to interpret. In this paper, we developed an Luo-kuan search application to easily check the information of the Luo-kuan. The application uses a search algorithm that analyzes the captured Luo-kuan image and sends it to the server to output information about the Luo-kuan candidates that are most similar to the Luo-kuan images taken from the database in the server. We also compared and analyzed the accuracy of the algorithm based on 170 Luo-kuan data in order to find out the ranking of the Luo-kuan that matched the Luo-kuan among the candidates. Accuracy Analysis Experimental Results The accuracy of the search algorithm of this application is confirmed to be about 90%, and it is anticipated that it will be possible to develop a platform to automatically analyze and search images in a big data environment by supplementing the optimizing algorithm and multi-threading algorithm.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.171-184
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• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.

• Cartoon and Animation Studies
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• s.41
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• pp.187-222
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• 2015

The quantitave increase and qualitative development in the game industry leads to bitter competition and makes game companies struggle to find better ways promoting their own games. The game trailer is one of the critical ways to publicize diverse games by showing visual images directly. There are three reasons why the game trailer comes into the spotlight these days; the rapid growth of the Internet speed handling the large size of files, the remarkable development of visual image quality just like digital movies, and the advent of video websites such as You Tube that shows huge amount of videos regardless of the type and size. However, there are not enough amount of research on the game trailer because using game trailers as the marketing source is still at an early stage. Therefore, this research focuses on providing characteristics of game trailers that are available for practical market analysis. First, this research shows that game trailers can be divided by the category of display, style, and contents type. Second, this research provides the component parts of game trailers that are divided into contents factors such as characters, backgrounds, events and promotional factors such as title, production company name, distribution company name. Third, this research explores research frames that would be needed to analyze marketing strategies, effects of game trailers, production pipelines and so on. These categorizations would be useful for producing game trailers efficiently and utilizing them effectively.