• 한국조경학회지
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• 제45권6호
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• pp.171-184
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• 2017

설계가는 차원 높은 설계철학과 언어를 구사하기 위해 지식 축척과 통찰력 배양을 통해 사고의 폭과 깊이를 추구한다. 본 연구는 조경설계에서 설계가의 '기억'을 기반으로 한 개념 형상화 유형 특성을 구명하고자 하였다. 연구결과는 다음과 같다. 첫째, 설계 아이디어는 설계가의 언어와 이미지 기억을 바탕으로 발상을 시작하여 대표적 의사소통 수단인 언어적 관점과 시각적 관점으로 형상 유형이 구성된다. 둘째, 조경설계의 언어적 개념 형상화는 2가지로 구성된다. '설계주제로서 제목의 상징적 언어'는 하나의 '구(句)'일 수 있으며, 위계를 두어 주(主)와 부(副)의 균형을 갖추어야 한다. '개념적 시나리오의 서술적 형상'은 서술적으로 개념을 표현하여 독자가 설계된 경관을 가상으로 경험하는 글이다. 셋째, 조경설계의 시각적 개념 형상화는 3가지로 구성된다. '다이어그램의 시각적 단순 형상'은 단순한 그래픽으로 상징물, 주석과 이미지, 키워드를 사용하여 쉽게 형상화된다. '개념스케치와 핵심 아이디어의 형상'은 초기 개념단계에서 물리적 요소와 공간에 대한 형태 속성 및 공간관계와 같은 아이디어의 핵심을 파악하는데 유용하다. '이미지 조합으로 새로운 형상을 창조하는 콜라주와 몽타주'는 새로운 시각을 제공하는 재료와 이미지의 모음으로 경관 현상을 기록하여 아이디어를 압축적으로 묘사하는 도구이다.

• 한국의류학회지
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• 제41권6호
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• pp.1085-1097
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• 2017

In the era of new media, images hold an important position as episteme to express and convey ideas. Fashion films provide dynamic and unique fashion images, differentiated from prior fashion media as a representational tool for showing a realistic fashion image only; consequently, their production and spread are increasing rapidly as a new fashion media. This study identifies the meaning and type of fashion images in fashion films based on the concept of Deleuze's image that help discover distinctive characteristics of fashion films as a new fashion media of an expressive tool. Literature research was conducted on new media, concepts and types of images by Deleuze to analyze types of new media images. According to research, fashion image in fashion film is defined as a fashion event; consequently, three types of new media images are derived. As the result of the empirical study, fashion images in fashion films are classified by images of realistic movement, variable time, and virtual experience. The results of the consideration show that fashion films expressed fashion through temporality and narrative, senses, and diegesis. Fashion images of new media in fashion films portray fashion as a process that transcends reality and imagination.

• 한국방송∙미디어공학회:학술대회논문집
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• 한국방송공학회 1996년도 Proceedings International Workshop on New Video Media Technology
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• pp.29-34
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• 1996

This paper proposes a new concept in video called Graphical Video. Graphical Video is a content-based and scalable video representation. A video consists of several elements such as moving images, still images, graphics, characters and charts. All of these elements can be represented graphically except moving images. It is desirable to transform these moving images graphical elements so that they can be treated in the same way as other graphical elements. To achieve this, we propose a new graphical representation of moving images using spatio-temporal clusters, which consist of texture and contours. The texture is described by three-dimensional fractal coefficients, while the contours are described by polygons. We propose a method that gives domain pool location and size as a means to describe cluster texture within or near a region of clusters. Results of an experiment on texture quality confirm that the method provides sufficiently high SNR as compared to that in the original three-dimensional fractal approximation.

• 전자공학회논문지B
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• 제30B권5호
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• pp.90-102
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• 1993

In this paper, we propose a prgressive image transmission technique using hierarchical pyramid data structure which is constructed based on the projection data of an image. To construct hierarchical Gaussian pyramids, we first divide an image into 4$\times$4 subblocks and generate the projection data of each block along the horizontal, vertical, diagonal, and antidiagonal directions. Among images reconstructed by backprojecting the projection data along a single direction, the one giving the minimum distortion is selected. The Gaussian pyramid is recursively generated by the proposed algorithm and the proposed Gaussian images are shown to preserve edge information well. Also, based on the projection concept a new transmission scheme of the lowest Laplacian plane is presented. Computer simulation shows that the quantitative performance of the proposed pyramid coding technique using projection concept is similar to those of the conventional methods with transmission rate reduced by 0.1 ~ 0.2 bpp and its subjective performance is shown to be better due to the edge preserving property of a projection operation.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2005년도 추계학술발표대회 논문집
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• pp.96-99
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• 2005

One of the characteristics of contemporary interior design is the prominence of material and its challenge to the established concept of interior design. As material has risen to the new element of design, losing its old concept as something secondary surrounding space, it had become an useful instrument to create unique images as well as to express the paradigm of space that modern society demands. The active role of material has made itself one of the primary elements that make a difference in design. Particularly in commercial spaces where sales are important and attractive spaces are needed, material has been emergent conveying its appling to consumers. Therefore, this study analyses the materiality that material has and its characteristics represented as images in commercial spaces. With the analysis, it researches further into the unlimited possibility of material and show the way for modern interior design to head for.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제7권10호
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• pp.2464-2478
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• 2013

Image stitching techniques produce an image with a wide field-of-view by aligning multiple images with a narrow field-of-view. While conventional algorithms successfully stitch images with a small parallax, structure misalignment may occur when input images contain a large parallax. This paper presents an image stitching algorithm that aligns images with a large parallax by regional linear warping. To this end, input images are first approximated as multiple planar surfaces, and different linear warping is applied to each planar surface. For approximating input images as multiple planar surfaces, the concept of dominant edges is introduced. Dominant edges are defined as conspicuous edges of lines in input images, and extracted dominant edges identify the boundaries of each planar surface. Dominant edge extraction is conducted by detecting distinct changes of local characteristics around strong edge pixels. Experimental results show that the proposed algorithm successfully stitches images with a large parallax without structure misalignment.

• 한국융합학회논문지
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• 제5권3호
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• pp.41-44
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• 2014

Sequential object analysis are playing vital role in real time application in computer vision and object detections.Measuring the similarity in two images are very important issue any authentication activities with how best to compare two independent images. Identification of similarities of two or more sequential images is also the important in respect to moving of neighborhoods pixels. In our study we introduce the morphological and shared near neighborhoods concept which produces a sufficient results of comparing the two images with objects. Considering the each pixel compare with 8-connectivity pixels of second image. For consider the pixels we expect the noise removed images are to be considered, so we apply the morphological transformations such as opening, closing with erosion and dilations. RGB of pixel values are compared for the two sequential images if it is similar we include the pixels in the resultant image otherwise ignore the pixels. All un-similar pixels are identified and ignored which produces the similarity of two independent images. The results are produced from the images with objects and gray levels. It produces the expected results from our process.

• 복식
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• 제67권3호
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• pp.115-132
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• 2017

This study recognizes the importance of the social network platform as a new fashion media, and analyzes the significance of various digital fashion images, based on the 'Aura' theory of Walter Benjamin. The concept of "Disappearance of Artistic Aura" can be summarized into three discussions: 1) the change in the way of artistic perception, which is changes in value from worship to exhibition. 2) the change in the way of artistic acceptance, from personal to mass. 3) the emergence of new artistic concepts such as camera and film. By reviewing characteristics of the $21^{st}$ digital replication era, the study tried to discover and evaluate the expanded significance of the 'Aura' represented on digital fashion images, which are infinitely generated, modified, reproduced, transmitted, and shared in social network environments. The 'Burberry Instagram' was chosen as the subject of the study. The study reviewed around 2,500 images, which were uploaded from February 2011 to July 2016, and selected 200 images deemed the most representative of Burberry, and categorized and analyzed by the extended concept of 'Aura'. The study results as follows: First, the 'Aura' in digital fashion image appearing on social network platforms signifies the expansion of product value in fashion, and it also represents inherited traditions and modernization of images. Second, it also signifies the democratization and globalization of fashion through the open replication and sharing as well as the interaction of criticism and acceptance. Third, it signifies the personalized taste and fashion as everyday lifestyle, through personalized services, securing playful space, and real-time updates.

• 복식
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• 제58권2호
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• pp.107-119
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• 2008

This study aims to define the concept of the futuristic image in fashion since 2000. In this study, earlier studies of the futuristic images in the fashion are analyzed and it is discovered that the most important characteristics of the futuristic images are the cosmic space and virtual reality. An analysis of actual data of the futuristic images of the fashion since 2000 produces the following conclusions. First, since 2000 the futuristic fashion to convey the image of space tends to be minimalist, taking H or A silhouette and using white, silver, or other vivid colors. Second, since 2000 the image of virtual reality is often expressed in the fashion of futuristic image as female fighters or vampires of the future who mostly wear pants suit or skirts that expose the body line. Materials of advanced technology or shiny leather are often used and dark colors including black are dominant in these images. Third, when the space image is expressed, the androgynous youth is emphasized. However when female fighters or vampires of the future are shown, sexual image of gloomy atmosphere is often stressed. Fourth, the fashion of futuristic image since 2000 takes up the space age look of the 1960s and the techno-cyber look of the 1980s and the 1990s. However their internal meanings are lost and only external forms are repeated. In sum, the current fashion of futuristic image emulates the past look of the fashion which was circulated as futuristic images and may be considered as a result of combination of futuristic image and retrospective image.

• 조형예술학연구
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• 제2권
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• pp.193-221
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• 2000

The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.