• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.05a
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• pp.429-432
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• 2009

오늘날 지능형 로봇은 국, 내외로 많은 관심을 받고 있는 분야이다. 지능형 로봇이란 외부환경을 인식하고 스스로 판단하여 자율적으로 동작을 하는 로봇을 의미한다. 이에 대한 연구 개발이 활성화 됨에 따라 로봇 소프트웨어 개발을 효과적으로 지원하기위한 로봇 소프트웨어 플랫폼에 대한 연구가 활발해지고 있다. 시시각각 변화하는 환경에서 민감하게 반응하기 위해서는 시각센서를 이용하여야 하고, 자신의 행위를 적절히 대응시키기 위해서는 주변 상황과 알맞은 행동을 추론하고 학습해야 한다. 본 연구에서는 인공지능 규칙처리 추론엔진을 토대로 한 NEO 시스템에 영상 처리 시스템을 올려 지능형 로봇을 제어하는 루틴을 추가한 VisionNEO를 개발하였다. 그리하여 주변 환경을 이해하고 알맞은 행동을 추론, 학습해 지식을 축적하는 지능형 로봇 비전 프레임워크를 제안한다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.264-267
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• 2009

기존의 자율형 휴머노이드 로봇 축구승부차기에서는 거리센서와 시각센서를 모두 이용한다. 본 논문에서는 시각센서만을 사용하는 사람과 유사한 승부차기 시스템을 제안한다. 이를 위하여 시각센서가 유연하게 움직일 수 있는 적합한 로봇의 조립 형태와 지능적 3차원 공간분석을 채용한다. 지식표현과 추론은 자체 개발한 지식처리 시스템인 NEO를 사용하였고, 그 NEO 시스템에 지능적 처리를 위한 영상처리 라이브러리인 OpenCV를 탑재한 시스템 VisionNEO를 사용하였다.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• International Commerce and Information Review
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• v.8 no.3
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• pp.385-396
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• 2006

The successful knowledge and information based companies facilitate to restructure the industry and strengthen the national competitiveness in the future. The advent of information age provides us new challenge because the information breakthrough can play a pivotal role in terms of knowledge transfer in the human resource management. Executive officer must present long term vision in order to expand enterprise continuously and establish long term management goal and strategy which are appropriate for key organizational skills of future management environment (Pfeffer, 1998). Also, long term talent management based on vision, goal and strategy and talent development strategy and employment management must be established (小池, 1994)). American HRM system's reformation cannot be defined without scientific management policy. However, currently widely discussed Japanese HRM system's reformation cannot be defined without organizational commitment focused Japanese employment system. (津田, 1992 ; 太田, 1994). Japan's development of the following policies are behind comparing to Europe : (1)Skill based talent management regardless of age, sex, nationality, race and academic background (2)Consideration of retirement age of 64 (3)Creativity and freedom promoting talent management policy. Also, there are problems to be solved. Solutions will be searched for by establishing new wage policy based on tasks and individuals in the basis of lifetime employment system.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.285-288
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• 2009

동영상에서 물체를 추적하기 위한 많은 방법들은 각 방법마다 다양한 요소들을 이용한다. 하지만 다양한 요소들은 그 관계를 명확히 나타낼 수 없다. 본 논문에서는 동영상에서 물체 추적을 위해 시각적 기본 요소의 동일성을 나타내고 설명하기 위한 방법을 제안한다. 시각적 기본 요소란 이미지에서 얻을 수 있는 순수한 시각적 기본 요소들인 색상, 명암, 윤곽선 정보를 말하며 이 정보를 이용하여 연속된 프레임을 비교해 동일한 물체인지를 판단한다. 그리하여 판단된 정보를 가지고 추적에 사용되는 요소들의 지속적인 갱신을 통해 대상을 모델 없이 추적하고 인식 과정에 대하여 제어가 가능하도록 한다.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.62-75
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• 2015

The purpose of this study is to examine how fine art is received in fashion, and to contribute to the development of a creative fashion culture. In order to do this examination, this study focuses on the formative ideas of De Stijl which appeared in the early 20th century. In addition, this study presents examples of today's fashion that still reflects the formative ideas of De Stijl. The De stijl movement did not last for a long time, but it has had significant influence on modern art, and has been a source of inspiration to fashion designers since the Mondrian look was presented by Yves Saint Laurent in 1965. The study on the basis of De Stijl such as Neo-Plasticism of Piet Mondrian and Elementalism of Theo van Doesburg, has been conducted in this study. As a result, this study presents formative characteristics of the De Stijl group in fashion as follows: First, contemporary fashion designers have searched for proportion and thickness of lines and the side split using lines, a stylistic trait of an artist in the De Stijl group. Second, color scheme defined by the De Stijl group has been applied with modification to contemporary fashion. Modification and selective choice of the limited colors are for a contemporaneous style. Third, formative ideas of De Stijl, which strives to achieve the vision of Utopia, has turned up in contemporary fashion as a simple and minimal silhouette. Contemporary fashion has enhanced their aesthetic value by deriving not only a superficial expression but also plastic principle and philosophy from De stijl. It can be regarded as the fashion's ideal way to embrace style of art and it might be so described as a key to edifying artistic and creative attributes of fashion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• The International Journal of Costume Culture
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• v.3 no.3
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• pp.212-222
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• 2000

This study intends to observe how the essential elements of art have changed Human's sense of beauty extending over the whole lives as well as fashion through the investigation of Light and Rays which have played a important role in giving birthe to the new trend of art within the upheaval age of various cultures. The peculiarities of which Futurism of Italy and Rayonism of Russia including Impressionism have a great role in giving birth to a new trend of art by means of the development of science technology are like these. Impressionists looked for the origin of the subtle harmony in nature within changes of sun-rays. The special feature of Impressionism paintings was to express the line of vision diversely according to changes of light rather than to focus on the line of vision with clear outlines. Henceforth, Neo-Impressionism which developed Impressionism more systematically leaded changes of Light and Rays more systematically and scientifically and maintained Divisionnisme techniques which extends to lead towards color and light through dividing and juxtaposing color. In the early 20th century Futurists tried to express dynamism through the interpenetration of light and revive color and light through the division techniques of color and persist an artificial light like eletricity rather than a natural light. Rayonism of Russia which was ifluenced from Impressionism and Futurism maintained intersection of reflecting rays which emerges from an object of things more deeply. This pursuit of light and rays also light and rays also appears as it is in modern fashion. First, it is the fashion which applied sun-rays persisted by Impressionists and expressed colors which show differently according to direction of light. Second, it is the fashion design which re-analyzed what Futurists expressed artificial light and rays. Third, it is the design which expressed Divisionnisme theory persisted by Impressionists and Futurists into fashion as it is and was made of being divided the form of glittering light into small dots. Fourth, it is the fashion design which applied Rayonists'work which applied intersection of reflected rays. Like this, it is aproved that the pursuit of light and rays expresses as it is in modern fashion of the 21st.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.1-12
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• 2008

The expansion of media art has not only developed the digital technology but also given lots of environmental evolution to improve various fields of design as the main topic of the 21st century. The purpose of this study is aimed at proposing the new design that integrates fashion accessaries with media art technology. This will be done by understanding the social environment in digital ages and studying technology of design based on a variety of literature about changes in our society, neo value, vision, culture and art with fundamental notion of media art. First stage for this study, put an idea into just fashion accessary design because it is not sufficient to incoporate fashion and media art technology. The presented OLED(Organic Light Emitting Diodes) in this study is a kind of display to be in a limelight in the next generation and can be applied to various field of design. media art simultaneously moved into the scope of artistic debates. As a result, we can found that the use of audiovisual introduced numerous new aspects to the conceptual and aesthetic engagement with questions of conception. Today, the presented forms of art and inter-action from the closed -circuit work to interactive media art installations to open process-exist as parallel possibilities.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.