• 조형예술학연구
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• 제12권
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• 복식문화연구
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• 제15권2호
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• pp.221-231
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• 2007

In the modern society of the 21st century where the visuality is emphasized, the illustration which expresses one symbol by embodying it is getting more spotlight than the use of character. Specifically, the fashion illustration serves the role of image promotion in other fields, for such as book, magazine, etc, as well as the fashion, and is taking root in daily lives. In response to that, this study researched on the fusion style fashion and the fashion illustration by using the violet color. The violet color which symbolizes the mysticism is being applied to society and culture in various forms, and has been considered as a precious color that represents god since ancient time, and still possesses its mysterious image even in the modern times. Moreover, as the appearance of fusion styled clothes which consolidates the latest trend image of the west and east is combined with the mysterious image of the purple to express new cultural image beyond highlighting specific image element of a country, the study on the fashion illustration based on the clothes based on the purple and fusion style would be very interesting. This study tried to produce the work that aims at the practical study based on the purple & fusion style and the theoretical consideration of fashion illustration through the analysis and investigative study of preceding studies. The findings from the study is like this: First, the violet the color, which represents the mysticism, can be confirmed to be an sophisticated, elegant and attractive image color that leads the modern fashion. Second, the fusion style which is coming into the spotlight recently can be found to have a great visual effect of consolidating the image of the west and east through the mixture with the purple color. Third, it was confirmed in our production of works that the fashion illustration was expressing a mysterious and new fusion style by blending appropriately with the purple color.

• 한국조리학회지
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• 제10권3호
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• pp.51-64
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• 2004

This study was designed to examine the educational conditions of a foodstylist and student satisfaction with the training. It looked at the educational conditions of the food-stylist department, one of relatively newly-emerging departments, and examined student satisfaction by each factor in order to have specific problem in the educational conditions. The purpose of this study was to maintain higher student satisfaction and to have competitive advantage over the other related departments. For the general information of respondents, most respondents said the monthly average income to be approximately 1.5 times higher than that of common workers in the country, showing that the food-stylist department is preferred by the class with economic ability. For admission motives, respondents used the information via mass communication when they choose it For general educational conditions, students have most satisfaction with the originality of department, at the score of 3.79, following by laboratory and vision in the order. The least satisfaction was in career guidance, reflecting that they have vague ideas where to work. For the theoretical course of study, it was found that ‘Introduction to Table Coordination’ had the highest satisfaction, 3.82, following by ‘Coloring’ and ‘Understanding on Oriental and Occidental Tablewares’ in the order. ‘Food and Beverage Service’ and ‘Public Health’ were found to have the least satisfaction, showing that those subjects do not cause any interest in terms of their property. For the satisfaction of practical training course, it was found ‘Cocktail Practices’, ‘Bakery and Confectionary Practices’, and ‘Understanding of Wines’ in the order, showing that practical subjects with high visuality have higher satisfaction. Further studies are necessary to examine the satisfaction with subjects from various classes, together with many course of study, and to develop statistical data that help us understand the needs of students more correctly for application.

• 미술이론과 현장
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• 제7호
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• 디지털콘텐츠학회 논문지
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• 제15권6호
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• pp.737-743
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• 2014

단일 영상 초해상도 기법에는 보간 기반 방법과 표본 기반 방법 등이 있다. 보간 기반 방법들은 간결성에 강점을 가지고 있으나, 이들 방법들은 선지식을 이용할 수 없기 때문에 톱니 모양의 윤곽선을 가진 고해상도 영상을 생성하는 경향이 있다. 표본 기반 초해상도 기법에서는 최근방 기반 알고리즘들이 널리 이용되어 지고 있다. 그들 중, 네이버 임베딩은 지역적 선형 임베딩이라는 매니폴드 학습 방법의 개념과 같다. 그러나, 네이버 임베딩은 국부 학습 데이터 집합의 크기가 너무 작은데에 따른 빈약한 일반화 능력으로 인하여, 시각적으로나 정량적인 척도에 의해 취약한 성능을 보인다. 본 논문에서는 이와 같은 문제점을 해결하기 위해 개선된 네이버 임베딩 알고리즘을 제안하였다. 저해상도 입력 영상이 주어지면 고해상도 버전의 화소 값들은 개선된 네이버 임베딩 알고리즘에 의해 구해진다. 실험 결과 제안된 방법이 바이큐빅 보간법이나 네이버 임베딩에 비해 정량적인 척도 및 시각적으로도 우수한 결과를 보였다.

• 건축역사연구
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• 제20권1호
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• 한국멀티미디어학회논문지
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• 제12권8호
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• pp.1055-1065
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• 2009

HDR(high dynamic range) 렌더링 기술은 다이내믹 레인지가 9 log unit이 넘는 휘도 범위의 일반 장면을 눈으로 보는 장면의 느낌과 최대한 유사하게 일반적인 영상매체에 출력이 가능하도록 8 bit해상도의 다이내믹 레인지로 변환하는 기술이다. 최근 가장 우수한 성능을 보이는 iCAM06 알고리듬은 iCAM (Image Appearance Modeling)과 CIECAM02를 토대로 만들어 졌으며, 기존 iCAM 모델에서는 제대로 고려하지 못한 공간 필터 링 (spatial filtering) 처리와 여러 시각현상을 고려 하여 설계하였다. 그러나 iCAM06 모델은 상당히 뛰어난 성능을 가지고 있음에도 불구하고 몇 가지 문제점을 가지고 있는데, 그 중의 하나가 사용자 설정 변수들이다. iCAM06에서 필요한 입력 변수들은 렌더링 영상에 큰 영향을 끼치지만, 실험적인 최적치로 결정되는 모호한 변수들이다. 본 논문에서는 iCAM06모델에서 사용되는 사용자 설정 입력 변수들에 대해 다양한 시조건이 고려된 최적의 값을 제공할 수 있도록 정량화된 수식을 제공하고, 또한 개선된 모델을 통하여 향상된 톤 압축의 가시성 결과를 다양한 조건에서의 HDR 영상으로 확인하였다.

• 디지털융복합연구
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• 제19권1호
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• pp.355-360
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• 2021

본 연구는 초기 사용자 경험 단계에서 발생 할 수 있는 확증 편향의 요인에 관해 요인별 사용자 경험 요소를 도출하여 허니콤 모형으로 분석하였다. 초기 사용자 경험 단계에서 확증 편향은 인상의 단계에서 발생한다. 기억의 처리단계에서는 감각기억과 작동 기억 그리고 선택적 기억을 저장하고 인출하는 장기 기억과 밀접한 관련이 있었다. 확증편향은 사용성 부분에서 가시성, 상관성, 기억성, 명확성, 보편성으로 분류되었고 감정요인으로는 만족감, 기쁨, 불만족이 도출되었다. 허니콤 모형으로 분석한 결과 사용성 요인에서 시각성, 명확성, 보편성과 감정 요인에서 기쁨은 확증편향에 미치는 영향이 미미하였으며 상관성과 기억성 그리고 감정 요인에서는 만족감과 불만족이 확증 편향의 주요요인으로 분석되었다. 본 연구는 확증 편향 요인에 대해 디자인 패턴을 커스텀화 하는 기업의 경우 참고 자료로 유용하게 활용될 수 있다는 점에서 의의를 가진다.

• 영미문화
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• 제13권1호
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• 한국조경학회지
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• 제48권6호
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• pp.39-47
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• 2020

이 논문은 북한에서 출판된 문헌에서 '경관'이 지칭하는 대상과 글의 맥락을 시대적 흐름에 따라 파악함으로써 북한 내 '경관'의 사회적·문화적 기의를 읽고자 했다. 이를 위해, 먼저 연속 간행물과 신문 기사에서 '경관'이 무엇을 서술하기 위한 단어로 사용됐는지를 경관의 종류에 따라 나누었고, 이를 시대의 흐름에 따라 파악했다. 그 결과, 북한에서 '경관'이 가지는 사회적·문화적 의미는 '정통성 투영의 대상', '도시로 확장된 시각성', '가시화된 사회주의 선경'으로 나눠 해석할 수 있다. 먼저, 백두산에 관한 글에서 '경관'은 후계자의 정통성을 입증하는 매개체로 사용됐다. 다음으로, 김정은 체제에서 '경관'은 인간의 경제적 활동에 의한 시각적 작용의 결과물까지를 서술하는 단어로 사용됐다. 마지막으로, 경관 차원의 성과를 가시화하는 방법으로, 김정은 집권 시기에는 '사회주의 선경'과 같은 경관 서열화의 용어를 채택했다. 이는 과거의 것과 명확히 구분되는 경관의 가시화 장치의 하나로 풀이할 수 있다.