• International conference on construction engineering and project management
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• 2009.05a
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• pp.30-31
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• 2009

Early detection of schedule delay in field construction activities is vital to project management. It provides the opportunity to initiate remedial actions and increases the chance of controlling such overruns or minimizing their impacts. This entails project managers to design, implement, and maintain a systematic approach for progress monitoring to promptly identify, process and communicate discrepancies between actual and as-planned performances as early as possible. Despite importance, systematic implementation of progress monitoring is challenging: (1) Current progress monitoring is time-consuming as it needs extensive as-planned and as-built data collection; (2) The excessive amount of work required to be performed may cause human-errors and reduce the quality of manually collected data and since only an approximate visual inspection is usually performed, makes the collected data subjective; (3) Existing methods of progress monitoring are also non-systematic and may also create a time-lag between the time progress is reported and the time progress is actually accomplished; (4) Progress reports are visually complex, and do not reflect spatial aspects of construction; and (5) Current reporting methods increase the time required to describe and explain progress in coordination meetings and in turn could delay the decision making process. In summary, with current methods, it may be not be easy to understand the progress situation clearly and quickly. To overcome such inefficiencies, this research focuses on exploring application of unsorted daily progress photograph logs - available on any construction site - as well as IFC-based 4D models for progress monitoring. Our approach is based on computing, from the images themselves, the photographer's locations and orientations, along with a sparse 3D geometric representation of the as-built scene using daily progress photographs and superimposition of the reconstructed scene over the as-planned 4D model. Within such an environment, progress photographs are registered in the virtual as-planned environment, allowing a large unstructured collection of daily construction images to be interactively explored. In addition, sparse reconstructed scenes superimposed over 4D models allow site images to be geo-registered with the as-planned components and consequently, a location-based image processing technique to be implemented and progress data to be extracted automatically. The result of progress comparison study between as-planned and as-built performances can subsequently be visualized in the D4AR - 4D Augmented Reality - environment using a traffic light metaphor. In such an environment, project participants would be able to: 1) use the 4D as-planned model as a baseline for progress monitoring, compare it to daily construction photographs and study workspace logistics; 2) interactively and remotely explore registered construction photographs in a 3D environment; 3) analyze registered images and quantify as-built progress; 4) measure discrepancies between as-planned and as-built performances; and 5) visually represent progress discrepancies through superimposition of 4D as-planned models over progress photographs, make control decisions and effectively communicate those with project participants. We present our preliminary results on two ongoing construction projects and discuss implementation, perceived benefits and future potential enhancement of this new technology in construction, in all fronts of automatic data collection, processing and communication.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.809-814
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• 2023

Currently, there is a lack of research that directly applies and integrates science and technology in the field of dance and translates it into creative work. In this study, the researcher applied motion capture to creative dance performance 'Youth' and described the process of incorporating motion capture into scenes for the performance. The research method involved utilizing practice-based research, which derives new knowledge and meaning from creative outcomes through the analysis of phenomena and experiences generated on-site. The creative ballet performance "<Youth>" consists of a total of 4 scenes, and the motion-captured video in these scenes serves as the highlight moments. It visually represents the image of a past ballerina while embodying the meaning of a scene that is both the 'past me' and the 'dream of the present.' The use of motion capture enhances the visual representation of the scenes and plays a role in increasing the audience's immersion. The dance field needs to become familiar with collaborating with scientific and technological advancements like motion capture to digitize intangible assets. It is essential to engage in experimental endeavors and continue training for such collaborations. Furthermore, through collaboration, the ongoing research should extend the scope of movement through digitized processes, performances, and performance records. This will continually confer value and meaning to the field of dance

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.779-785
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• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• The Korean Journal of Archival Studies
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• no.79
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• pp.471-513
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• 2024

The monthly news and culture magazine, 'Sasanggye,' established by Jang Jun-ha from 1953 to 1970, served as a platform for government criticism and intellectual representation. The magazine created photographic-essays covering a variety of topics and utilized images as a visually impactful tool with news value. This paper aims to critically examine the photographic-essays within 'Sasanggye' as archival records, shedding light on their intrinsic value. Before delving into this assessment, the paper thoroughly explores the developmental process and characteristics of these photographic-essays. And based on the content divisions within the main text, the paper categorized the themes captured in the photographic essays into politics, economics, society, culture, and miscellaneous topics. It then introduced representative photographicessays. From an archival perspective, looking at photographs involves elucidating that photographs carry meanings beyond mere data. The photographic essays in 'Sasanggye' serve as photographic records providing evidence of 1960s Korean society and encapsulating crucial visual information. Furthermore, the photographic essays in 'Sasanggye' hold a historical significance in the aspect of Korean magazine documentary photography. The photo-essays in 'Sasanggye' carry worth in the history of photography and encompass evidential and informational values as photographic records.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• Journal of Intelligence and Information Systems
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• v.19 no.4
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• pp.55-79
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• 2013

In this paper, we propose a hybrid genetic algorithm (HGA) approach to effectively solve the reverse logistics network with centralized centers (RLNCC). For the proposed HGA approach, genetic algorithm (GA) is used as a main algorithm. For implementing GA, a new bit-string representation scheme using 0 and 1 values is suggested, which can easily make initial population of GA. As genetic operators, the elitist strategy in enlarged sampling space developed by Gen and Chang (1997), a new two-point crossover operator, and a new random mutation operator are used for selection, crossover and mutation, respectively. For hybrid concept of GA, an iterative hill climbing method (IHCM) developed by Michalewicz (1994) is inserted into HGA search loop. The IHCM is one of local search techniques and precisely explores the space converged by GA search. The RLNCC is composed of collection centers, remanufacturing centers, redistribution centers, and secondary markets in reverse logistics networks. Of the centers and secondary markets, only one collection center, remanufacturing center, redistribution center, and secondary market should be opened in reverse logistics networks. Some assumptions are considered for effectively implementing the RLNCC The RLNCC is represented by a mixed integer programming (MIP) model using indexes, parameters and decision variables. The objective function of the MIP model is to minimize the total cost which is consisted of transportation cost, fixed cost, and handling cost. The transportation cost is obtained by transporting the returned products between each centers and secondary markets. The fixed cost is calculated by opening or closing decision at each center and secondary markets. That is, if there are three collection centers (the opening costs of collection center 1 2, and 3 are 10.5, 12.1, 8.9, respectively), and the collection center 1 is opened and the remainders are all closed, then the fixed cost is 10.5. The handling cost means the cost of treating the products returned from customers at each center and secondary markets which are opened at each RLNCC stage. The RLNCC is solved by the proposed HGA approach. In numerical experiment, the proposed HGA and a conventional competing approach is compared with each other using various measures of performance. For the conventional competing approach, the GA approach by Yun (2013) is used. The GA approach has not any local search technique such as the IHCM proposed the HGA approach. As measures of performance, CPU time, optimal solution, and optimal setting are used. Two types of the RLNCC with different numbers of customers, collection centers, remanufacturing centers, redistribution centers and secondary markets are presented for comparing the performances of the HGA and GA approaches. The MIP models using the two types of the RLNCC are programmed by Visual Basic Version 6.0, and the computer implementing environment is the IBM compatible PC with 3.06Ghz CPU speed and 1GB RAM on Windows XP. The parameters used in the HGA and GA approaches are that the total number of generations is 10,000, population size 20, crossover rate 0.5, mutation rate 0.1, and the search range for the IHCM is 2.0. Total 20 iterations are made for eliminating the randomness of the searches of the HGA and GA approaches. With performance comparisons, network representations by opening/closing decision, and convergence processes using two types of the RLNCCs, the experimental result shows that the HGA has significantly better performance in terms of the optimal solution than the GA, though the GA is slightly quicker than the HGA in terms of the CPU time. Finally, it has been proved that the proposed HGA approach is more efficient than conventional GA approach in two types of the RLNCC since the former has a GA search process as well as a local search process for additional search scheme, while the latter has a GA search process alone. For a future study, much more large-sized RLNCCs will be tested for robustness of our approach.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Science of Emotion and Sensibility
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• v.15 no.4
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• pp.553-564
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• 2012

Tangible user interfaces have been developed in the area of Human-Computer Interaction for the last decades, however, the applied domains recently have been extended into the product design and interactive art. Tangible User Interfaces are the combination of digital information and physical objects or environments, thus they provide tangible and intuitive interaction as input and output devices, often combined with Augmented Reality. The research developed a design guideline for tangible user interfaces based on key properties of tangible user interfaces defined previously in five representative research: Tangible Interaction, Intuitiveness and Convenience, Expressive Representation, Context-aware and Spatial Interaction, and Social Interaction. Using the guideline emphasizing user interaction, this research evaluated installation in a science museum in terms of the applied characteristics of tangible user interfaces. The selected 15 installations which were evaluated are to educate visitors for science by emphasizing manipulation and experience of interfaces in those installations. According to the input devices, they are categorized into four Types. TUI properties in Type 3 installation, which uses body motions for interaction, shows the highest score, where items for context-aware and spatial interaction were highly rated. The context-aware and spatial interaction have been recently emphasized as extended properties of tangible user interfaces. The major type of installation in the science museum is equipped with buttons and joysticks for physical manipulation, thus multimodal interfaces utilizing visual, aural, tactile senses etc need to be developed to provide more innovative interaction. Further, more installation need to be reconfigurable for embodied interaction between users and the interactive space. The proposed design guideline can specify the characteristics of tangible user interfaces, thus this research can be a basis for the development and application of installation involving more TUI properties in future.

• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.