• 한국의류산업학회지
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• 제13권6호
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• pp.866-876
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• 2011

We find ourselves living in a post-human era when technology and images coexist with humans. A cyborg, a combination of an organic body and a machine could be called a human fused with a machine. It could be understood as a new species where humans and machines have combined rather than simple protoplasm or an organic body. The purpose of this study is to demonstrate that a concept of a body in post humanism era is finding expression in fashion illustration through cyborg images. The concepts of post humanism and cyborg are analysed by means of research into literature and characteristics in which cyborg images as post humans are expressed through art, and images of a cyborg body in fashion illustration and their meanings are explored with the foregoing as a framework of reference. Cyborg image reflects new images and concept of a human in post humanism. The cyborg body images in fashion illustration are expressed through the addition of mechanical images, digital virtual body, monster image by means of hybrid combination, distorted physical transformation and fragmented body and body absence. And cyborg image in fashion illustration shows the extension of body concepts through the technology and uncertain and ambiguous identity.

• 복식문화연구
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• 제17권1호
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• pp.40-54
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• 2009

Many studies make us difficult for understanding the specific concept of NOW avant garde by misusing avant garde or by using the over wide-ranging concept. The purpose of this study is to define the concept of NOW avant garde fashion by analyzing its fashion and its paradigm characteristics, after considering modern avant garde fashion history. This study was used with bibliographic research as well as internet search of qualitative method for analyzing fashion show clothes since 2005 women's wear. The characteristics of NOW avant garde fashion are classified into plural deconstructivism, econonism that integrates the last avant garde factors with logical economics, and the aesthetic of Tech-Human. To conclude, the concept of NOW avant garde fashion is defined as the fashion expressing either the digital-hybrid images or the deconstructive images meaning elimination, unification or confinement, being pilled up one on another, bizarre connection, transposition, and distortion.

• 대한수학교육학회지:학교수학
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• 제14권4호
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• pp.469-493
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• 2012

본 연구는 증명을 성공적으로 구성하는 학생들은 수학적 개념을 어떻게 이해하고 있으며, 증명을 어떻게 구성하는 지를 살펴보고 이를 통해 증명을 구성하는 다양한 방식과 개념 이해의 관련성을 분석하는 데 목적이 있다. 증명 구성에 도움이 되는 수학 학습에 제언을 얻기 위해서는 증명을 구성하는 과정과 그 과정에서 개념이 어떻게 반영되고 이용되는 지를 살펴볼 필요가 있다. 이를 위하여 4명의 수학교육과 학생들을 대상으로 사례연구를 실시하였다. 그 결과 구문론적 증명을 하는 학생들은 형식적 개념의 내용을 정확하게 알고 있을 뿐만 아니라 그 개념이 담겨있는 명제는 어떠한 방식으로 증명하는 지 그 방법까지 알고 있었다. 실제 증명에서도 평소 증명 경험을 통하여 학습한 증명 전개 방법을 이용하여 증명하는 것을 볼 수 있었으며, 이로부터 증명 방법에 대한 절차적 지식이 구문론적 증명에는 중요한 요소라는 결론을 얻을 수 있었다. 의미론적 증명을 하는 학생들은 형식적 개념의 내용을 정확하게 알고 있고 그 내용과 의미를 본인만의 언어나 그림으로 표현한 개념 이미지를 가지고 있었다. 구문론적 증명을 하는 학생들의 개념 이미지와 비교해보았을 때, 의미론적 증명을 하는 학생들의 개념 이미지는 구문론적 증명을 하는 학생들의 개념 이미지보다 형식적 개념의 내용을 잘 반영하고 있었다. 이러한 개념 이미지는 개념 이미지를 활용하여 증명의 아이디어를 생각하고, 생각한 아이디어를 증명의 형식에 맞게 표현하는 데 사용된다는 점에서 의미론적 증명에 필요한 요소라는 것을 발견할 수 있었다.

• 복식문화연구
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• 제13권5호
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• pp.777-789
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• 2005

Mix & Match Visual Image, appearing in T-shirt one-point graphics, is a new visual image emerged as a result of several trends: development of cutting-edge machinery and computer programs, various needs of consumers, and an international trend of fusion concept. Thus, a concrete research of Mix & Match Visual Images is demanding. This paper studies one-point graphic, which appeared in the SamsungDesignNet, Interfashion Planning, and firstviewkorea, with a focus on apparel T-shirt of women's wear and casual wear from 2001 to 2004. The study shows that the most preferred independent visual image in Mix & Match Visual Images is a typography, and next is in the order of marks, symbols, geometric diagrams and abstract shapes, animals and plants, characters, materials, and collages. As Mix & Match of independent visual images was mainly combined typography with other independent visual images, we need to develop more Mix & Match Visual Images using various independent visual images's mix and match. Then, T-shirt will be one of the most representative items in Korean fashion trend that enable consumers to express their characters, escaping from the old-fashioned concept that T-shirt is just a T-shirt.

• 한국콘텐츠학회논문지
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• 제9권12호
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• pp.103-112
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• 2009

제품 디자인 기술의 발달로 다양한 컨셉의 제품들이 개발되고 있고 사용자 맞춤형 디자인 컨셉에 따른 제품이 활발하게 출시되고 있다. 성공적인 개발을 위해서는 컨셉을 제품 개발 프로세스에 정확히 전달하여야 목표하는 디자인을 개발할 수 있다. 제품 개발 목적에 맞는 디자인 컨셉을 찾기 위해서 붐박스를 겸한 모바일 폰에 대한 디자인 컨셉을 감성적 어휘 표현으로 찾아내고 해당 목표에 맞는 시각적 이미지를 이용하여 컨셉 목표를 구체화했다. 컨셉 목표를 구체화하기 위하여 개발에 참여하는 이해당사자가 서로 합의할 수 있는 이미지를 선정을 목표로 참여자 간의 의견 조율을 위한 테스트를 실시하였다. 본 연구에서는 합리적인 선택을 위하여 테스트 결과를 클러스트링 기법을 이용하여 컨셉과 이미지 선정을 위한 방법을 제안하고자 하였다. 이러한 방법은 디자인 컨셉을 설계하고 목표에 맞은 GUI 구현에 기여할 것으로 보인다.

• 한국정보과학회논문지:데이타베이스
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• 제29권1호
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• pp.27-33
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• 2002

트리플 이미지 색인 기법에는 두 가지 문제점이 있는 데 그 하나는 개념기반 이미지 검색을 지원하지 않는다는 것이고 다른 하나는 이접 레이블링(labeling)이 허용되지 않는다는 점이다. 이 문제점들을 해결하기 위해서 본 논문에서는 불확정적 퍼지 트리플(I-퍼지 트리플)이라는 새로운 이미지 색인 자료 형을 제안한다. I-퍼지 트리플에 의한 이미지 색인 방식에서는 이접 레이블링을 허용하기 때문에, 이미지 내 객체들이 꼭 확정적으로 인식될 필요가 없으며, 또 확정적으로 인식되지 않는 이미지들에 대해서도 개념 기반 이미지 정합이 가능하다. 본 논문에서 제안하는 이접 레이블링은 확장된 폐 세계 가정에 기반을 두고 있으며, 기념 기반 이미지 검색은 퍼지 술어에 의한 정합에 근거를 두고 있다. 본 논문에서는 또한 이접 레이블링에 의해 불확정적으로 색인된 이미지 데이터베이스로부터 원하는 답을 $\alpha$$\in$[0,1]확정도로 구해내는 개념기반 질의 평가 방식도 제안한다.

• 복식문화연구
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• 제19권3호
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• pp.460-472
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• 2011

This paper developed motifs through the use of images of masks with which the Korean innate consciousness of aesthetics is expressed. The motifs were applied to fashion items. This paper investigated the concept, origin and types of traditional masks through the existing literature. Using the computer graphic programs of Illustrator and Photoshop CS2, three basic motifs were set from the images of the nobleman, Bune of Hahoi Tal and Byeongsan Tal. Each motif was extended into two motifs by changing shape and color. For the basic motif design, this study sought to express contemporary images, suitably for each fashion item, while maintaining the basic shape of the masks and their traditional images. In addition, this study set the concept of the design so that could be accepted by various age groups. For the design of handkerchiefs, a rotating array, involving enlargement, reduction, repetition, and the gradation of motifs, as well as a diagonal symmetric array, and all-over patterns were developed. The T-shirt design created here was divided into a half-sleeve box type, a round neckline sleeveless type, a V-neckline close-fitting sleeveless type, and a V-neckline close-fitting cap sleeve type. For the design of necklaces, OLED or LED, which are considered as a future display type, was used. Additionally, the production of an entertainment styled new atmosphere is proposed.

• 한국의류학회지
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• 제31권11호
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• pp.1634-1644
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• 2007

This study is to define correctly the concept of exotic image that evolved in domestic fashion since 2001 and to analyze the characteristics and current tendency of the domestic fashion items of the exotic image. Thus this study will be helpful in establishing an academic field of the exotic image in the domestic fashion industry which can offer the ideas necessary for the style and item developments. As for the research method of this study, the frequency and content multi-dimensional analysis were used in the investigation of the exotic images appearing in the domestic fashion brands. The types of exotic image are #ecological#, #folk & ethnic costume#, #kitchy bricolage#, #womanish#, #period# types by analyzed with the elements of exotic images in the domestic women#s fashion brand. The exotic image in domestic fashion market in the middle of 2000s is the results of fusion phenomena among various trend styles, and through the compromise and mixture of different elements, exaggerations, and historically different times of old and new. In conclusion, the contemporary concept of exotic image is expanded by the sum of many contributing images. They are the folk ethnic costume image originating from various different cultures and also the fusion images of folk ethnic costumes from non-urban, not-modern, not-industrialized images compromised with unfamiliar codes.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제8권5호
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• pp.1785-1800
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• 2014

In 2011, Chen and Wu proposed their method of sharing n secret images to n+1 shadow images through the concept of a Boolean-based Visual Secret Sharing (VSS) method. However, the shadow images produced by this method are not equally important. If the participant who owns an important shadow image does not want to cooperate with other participants, most secret images can not be reconstructed. In the proposed method, the relationship between the shadows images and secret images are designed in a circular way mostly. Each shadow image only relates to two secret images. This means that if one participant refuses to cooperate with other participants, there are only two secret images which can not be reconstructed. Moreover, our proposed method only needs to produce n shadow images and n secret images can be shared to them.

• 조형예술학연구
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• 제1권
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• pp.165-188
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• 1999

When we think about visual art, we can't pass over the matter of images and spaces. An image is fixed in a painting space. If the image were posited in the river of time, it would be changed as time flowed on. Its image might be created, rigged, transfigured or it might vanish or remain as traces. The image is changed through the process of expressing them on the painting surfaces. In paintings the changing of the image is caused not only by working processes but also recognizing the objects. In modernist painting, the idea of space was important, but in postmodernist view, the idea of time becomes essential. In this thesis I will focus on the matter of time and image of painting in the late 20th century. Studying the relationship of image and time is not familiar because we had considered the space as being more related to painting distinction than time. Presently, the concept of space can't be divided from that of time. In Physics, they recently called it as a united concept- time-space. Painting space also becomes one asking and recieve the concept of time actively. Now in painting, time is no more a supporting matter but becomes a major matter. In the late 20th century, we can find many trials to catch the change of images as time flowes on and express them as a trace through using verioty media. One of the way to drawing the change of images as time passes could be seen through various joint images in one painting space and another in the traces of one image. The other could be done by using new media such as computer in the example of fractal art. It shows the images chainging of practically as time changes. New understanding about time of this era has to be affirmatively accepted because it reflects the contemporary cultural situation and in art, the concern about the possiblity of it and finding new medias which has to go on.