• 제목/요약/키워드: Visual destroy

검색결과 8건 처리시간 0.02초

증강현실 환경하에서 RFID/NFC 기반의 탠저블 인터페이스를 활용한 디지털 콘텐츠 상호작용 (Digital Content Interactions Using RFID/NFC-based Tangible Interfaces in Augmented Reality Environments)

  • 서동우;이재열;김재성
    • 한국CDE학회논문집
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    • 제20권2호
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    • pp.159-170
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    • 2015
  • Radio-Frequency Identification (RFID) or Near Field Communication (NFC) technology has many advantages over other visual interfaces since it does not require line-of-sight alignment, can identify multiple tags simultaneously, and does not destroy the integrity of original objects. In addition, smart devices such as smartphone and smartpad have NFC/RFID readers which can provide mobile and natural interactions with digital and physical contents. Augmented reality has an excellent visual interaction capability with digital contents in a real environment by embedding digital contents into the physical world. In this paper, we propose a new approach to digital content interactions using RFID/NFC-based tangible interfaces in augmented reality environments that utilize invisible interfaces in addition to marker-based visual interfaces. By combining the advantages of invisible and visual interfaces, more intuitive interactions with digital contents can be provided, which can remove the difficulty of using typical AR paddles that are widely used in AR interactions. In particular, a semantic AR ontology is defined to provide more convenient interactions. Through the semantic ontology-based inferencing, physical querying and filtering are effectively supported. We will show the effectiveness and advantage of the proposed approach by demonstrating implementation results.

도로경관의 자연환경성 모형 -교외지역 국도를 중심으로- (A Model of Environmental Naturalness for Roadscape - Focused on the National Road in Suburb Areas -)

  • 홍영록;권상준;조태동
    • 한국환경과학회지
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    • 제13권6호
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    • pp.505-512
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    • 2004
  • This study was attempted to review the information data for minimizing the destruction of environmental naturalness and the visual damage of landscape from road construction by establishing a model of environmental naturalness for national roads in the suburb areas to suggest an answer to a research question, ' hat does decide the environmental naturalness of roadscape?'. We found that 1) The road-side slope showed no statistical significance in the description of environmental naturalness of roadscape, but the fact that the road-side slope from road construction is the destruction of natural topography cannot be overlooked. 2) In terms of the direction of value variations for independent variables, signboard and telegraph post, soundproofing and protection wall, structure, and building acted toward negative (-) direction, while mountains, sky, road trees, fields, and surrounding green including the road-side slope acted toward positive(+) direction. 3) The variable with highest relative contribution to dependent variables among independent variables is building, which has importance as many as 148 times of road-side slope, while the variable road-side slope has the least importance. Building has the importance of 7.22 times, mountains 5.51 times, road trees 2.59 times, surrounding green 2.54 times, structure 2.41 times, signboard and telegraph post 2.37 times, soundproofing and protection wall 2.20 times, and sky 1.32 times of the fields as a standard criterion values 1.

웨이블릿 변환 및 인간 시각 시스템을 이용한 원문 워터마킹 (Image Watermarking using Wavelet Transform and Human Visual System)

  • 김상국;김태중;황재호;이재광
    • 한국콘텐츠학회논문지
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    • 제4권3호
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    • pp.61-70
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    • 2004
  • 최근 인터넷을 통하여 멀티미디어 데이터와 응용물들이 아주 쉽고 빠르게 분배되며, 전자상거래와 온라인 서비스 등이 급격히 성장하고 있다. 따라서 디지털 데이터에 워터마크를 삽입하여 소유권을 보호하고 데이터의 무결성을 보증하도록 하는 연구가 활발히 진행되고 있다. 본 논문에서는 디지털 이미지를 대상으로 웨이블릿 변환과정을 거쳐 3개의 레벨로 고주파 밴드와 저주파 밴드로 분해하고, 그 후 중주파 밴드에서 시각적으로 중요한 계수를 찾아 인간 시각 시스템(HVS) 기술을 이용하여 눈의 특성에 맞게 워터마크를 삽입함으로써 한층 향상된 화질과 굳건함을 보여 준다. 또한 제안한 워터마킹 알고리즘의 성능평가를 위한 모의실험에서는 워터마크에 대한 여러 가지 공격에서도 삽입된 워터마크가 검출됨을 증명하고 PSNR 값을 구한 복원화질이 우수함을 보여 준다.

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THE KOREAN 1592-1593 RECORD OF A GUEST STAR: AN 'IMPOSTOR' OF THE CASSIOPEIA A SUPERNOVA?

  • Park, Changbom;Yoon, Sung-Chul;Koo, Bon-Chul
    • 천문학회지
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    • 제49권6호
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    • pp.233-238
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    • 2016
  • The missing historical record of the Cassiopeia A (Cas A) supernova (SN) event implies a large extinction to the SN, possibly greater than the interstellar extinction to the current SN remnant. Here we investigate the possibility that the guest star that appeared near Cas A in 1592-1593 in Korean history books could have been an 'impostor' of the Cas A SN, i.e., a luminous transient that appeared to be a SN but did not destroy the progenitor star, with strong mass loss to have provided extra circumstellar extinction. We first review the Korean records and show that a spatial coincidence between the guest star and Cas A cannot be ruled out, as opposed to previous studies. Based on modern astrophysical findings on core-collapse SN, we argue that Cas A could have had an impostor and derive its anticipated properties. It turned out that the Cas A SN impostor must have been bright ($M_V=-14.7{\pm}2.2mag$) and an amount of dust with visual extinction of ${\geq}2.8{\pm}2.2mag$ should have formed in the ejected envelope and/or in a strong wind afterwards. The mass loss needs to have been spherically asymmetric in order to see the light echo from the SN event but not the one from the impostor event.

현대회화에서 드러난 해체의 형식론에 관한 연구 -타의적 해체와 자의적 해체의 성격규정을 중심으로- (A study of the destructive styles from Contemporary Paintings - Focused on distinguishing enmity-destruction and self-destruction -)

  • 박기웅
    • 조형예술학연구
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    • 제7권
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    • pp.5-63
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    • 2005
  • Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.

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현대 구조적 패션디자인에 나타난 구조미의 표현방식에 대한 연구 - 산티아고 칼라뜨라바의 건축특성을 중심으로 - (A study on expression methods for structural aesthetics in modern fashion design - Focus on the architectural characteristics of Santiago Calatrava -)

  • 이연지;엄소희
    • 복식문화연구
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    • 제23권5호
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    • pp.737-754
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    • 2015
  • The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

20세기 후기 회화에서의 낙서적 표현에 관한 연구 -다의적 표현방식에로의 변화에 주목하여- (A Study of Scribbling expression in Late 20th century Painting -centerd on the changedness to the multicodificative expression-)

  • 박기웅
    • 조형예술학연구
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    • 제4권
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    • pp.26-66
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    • 2002
  • Scribble methodology is developed from the modernist's effort of pursuing the free expression and painterlyness And in modernism period usual abstract mode is made by simple plastic ingredients. One of them is Scribble way. In the period of postmodern, the Scribbling is confused with destructive methodology like Iconoclasm, Vandalism and scribbling. Lucio Fontana and Robert Raushenberg had developed these methodology and made new direction in $1960\sim1970$. After 1980, there had been graffiti movement similar to scribbling in germany. There had been developed many kind of scribble methodology, in each artist and be prolonged destroy the price of our usual concept. These Styles are able to discerned as follows. Firstly, in case of Cy Twombly, he used very allusive signifier, which contain different motives come from the ancient ruins or myths. The methodology follows multi-codified meaning relationship. Secondly, the methodology was developed by Jean Michael Basquait as the type of Hispanic scribbling for ebony peoples and by Keith Harring as the type of Cartoon image of Mass-media based on technology. Thirdly, the multi-meaning style was developed by David Salle as the type of destructive methodology which are the ambivalent images conjoined difference time and term and by Gigmar Polke as the type of mixture of abstract and realistic shapes together which are based on the aesthetics which is based on pessimistic sight for contemporary civilization. It means the methodology is based on the multi-codification of postmodern semiotics. So the scribbling mode is subjected as important as the changedness of late 20th century painting developments.

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자기반영적 파운드 푸티지 필름 (Found Footage Film of Self-Reflexivity)

  • 서영주
    • 만화애니메이션 연구
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    • 통권33호
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    • pp.317-341
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    • 2013
  • 오늘날의 급변하는 매체환경 속에서 파운드 푸티지 필름메이킹은 영화를 포함한 시각예술 분야에서 주목받고 있는 영상제작 방식이다. 기존의 필름 푸티지들을 전유하여 새로운 의미와 맥락을 만들어 내는 파운드 푸티지 필름은 영화 스스로 자신의 매체를 검토하고 성찰하는 자의식적 장르이다. 본 논문에서는 파운드 푸티지 필름에서 중요한 지점을 담당하는 발견의 의미를 규정하고 그 기원을 원시 시대의 예술적 충동에 이어 다다와 초현실주의의에서 찾았다. 또한 파운드 푸티지 필름의 중요한 특징을 자기반영성으로 보고 이를 파운드 아트와 연계하여 논의를 진행시켰다. 덧붙여 유희적이거나 도발적으로 환영주의적 예술의 허점과 결함, 그리고 봉합 자국에 주의를 환기시키며 스스로를 드러내는 모더니즘적 자기반영성의 특징을 고찰하고, 파운드 푸티지 필름메이커들이 취하였던 다양한 방법들 중 세 가지 방식을 축으로 텍스트 분석을 하였다. 이는 첫째, 필름의 물질적 구조를 드러내어 환영성을 폭로하고 탈신비화 시키는 방식, 둘째, 소멸되어가는 셀룰로이드의 유한성을 강조하여 필름의 물질성과 역사성을 환기시키는 방식, 셋째, 시간 구조를 변형시킴으로써 과거의 기록과 기억에 관여하며 새로운 지각을 환기시키는 방식들로 나뉘어 제시되었다. 셀룰로이드가 역사적, 예술적 매체로 보존되어야만 하는 작금의 시기에 필름을 재사유하고 재생산하는 자기반영적 파운드 푸티지 필름에 대한 고찰은 시각매체연구에서 필요한 작업이 될 것이다. 시네마와 미술의 경계에 서있는 파운드 푸티지 필름에 대한 본 연구가 과거와 이어져있는 우리의 현 위치를 성찰하고 영상 문화를 이해하는데 부분적으로나마 도움이 되기를 기대한다.