• Journal of Korean Tunnelling and Underground Space Association
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• v.19 no.1
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• pp.95-107
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• 2017

In this study, a preliminary study was undertaken for development of a tunnel incident automatic detection system based on a machine learning algorithm which is to detect a number of incidents taking place in tunnel in real time and also to be able to identify the type of incident. Two road sites where CCTVs are operating have been selected and a part of CCTV images are treated to produce sets of training data. The data sets are composed of position and time information of moving objects on CCTV screen which are extracted by initially detecting and tracking of incoming objects into CCTV screen by using a conventional image processing technique available in this study. And the data sets are matched with 6 categories of events such as lane change, stoping, etc which are also involved in the training data sets. The training data are learnt by a resilience neural network where two hidden layers are applied and 9 architectural models are set up for parametric studies, from which the architectural model, 300(first hidden layer)-150(second hidden layer) is found to be optimum in highest accuracy with respect to training data as well as testing data not used for training. From this study, it was shown that the highly variable and complex traffic and incident features could be well identified without any definition of feature regulation by using a concept of machine learning. In addition, detection capability and accuracy of the machine learning based system will be automatically enhanced as much as big data of CCTV images in tunnel becomes rich.

• Progress in Medical Physics
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• v.26 no.4
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• pp.215-222
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• 2015

In this work, we performed a proof-of-concept experiment for phase-contrast x-ray imaging (PCXI) based on a single antiscatter grid and a polychromatic x-ray source. We established a table-top setup which consists of a focused-linear grid having a strip density of 200 lines/inch, a microfocus x-ray tube having a focal-spot size of about $5{\mu}m$, and a CMOS-type flat-panel detector having a pixel size of $48{\mu}m$. By using our prototype PCXI system and the Fourier demodulation technique, we successfully obtained attenuation, scattering, and differential phase-contrast images of improved visibility from the raw images of several selected samples at x-ray tube conditions of $90kV_p$ and 0.1 mAs. Further, fusion image (e.g., the attenuation+the scattering) may have an advantage in displaying details of the sample's structures that are not clearly visible in the conventional attenuation image. Our experimental results indicate that single-grid-based approach seems a useful method for PCXI with great simplicity and minimal requirements on the setup alignment.

• Journal of Korean Tunnelling and Underground Space Association
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• v.24 no.3
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• pp.247-262
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• 2022

In domestic tunnels, it is mandatory to install CCTVs in tunnels longer than 200 m which are also recommended by installation of a CCTV-based automatic accident detection system. In general, the CCTVs in the tunnel are installed at a low height as well as near by the moving vehicles due to the spatial limitation of tunnel structure, so a severe perspective effect takes place in the distance of installed CCTV and moving vehicles. Because of this effect, conventional CCTV-based accident detection systems in tunnel are known in general to be very hard to achieve the performance in detection of unexpected accidents such as stop or reversely moving vehicles, person on the road and fires, especially far from 100 m. Therefore, in this study, the region of interest is set up and a new concept of inverse perspective transformation technique is introduced. Since moving vehicles in the transformed image is enlarged proportionally to the distance from CCTV, it is possible to achieve consistency in object detection and identification of actual speed of moving vehicles in distance. To show this aspect, two datasets in the same conditions are composed with the original and the transformed images of CCTV in tunnel, respectively. A comparison of variation of appearance speed and size of moving vehicles in distance are made. Then, the performances of the object detection in distance are compared with respect to the both trained deep-learning models. As a result, the model case with the transformed images are able to achieve consistent performance in object and accident detections in distance even by 200 m.

• Geophysics and Geophysical Exploration
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• v.8 no.4
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• pp.262-269
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• 2005

Since the buried cultural relics are three-dimensional (3-D) objects in nature, 3-D survey is more preferable in archeological exploration. 3-D Ground Penetrating Radar (GPR) survey based on very dense data in principle, however, might need much higher cost and longer time of exploration than other geophysical methods commonly used for the archeological exploration, such as magnetic and electromagnetic methods. We developed a small-scale continuous data acquisition system which consists of two sets of GPR antennas and the precise positioning device tracking the moving-path of GPR antenna automatically and continuously. Since the high cost of field work may be partly attributed to establishing many profile lines, we adopted a concept of data acquisition at arbitrary locations not along the pre-established profile lines. Besides this hardware system, we also developed several software packages in order to effectively process and visualize the 3-D data obtained by the developed system and the data acquisition concept. Using the developed system, we performed 3-D GPR survey to investigate the possible historical remains of Baekje Kingdom at Buyeo city, South Korea, prior to the excavation. Owing to the newly devised system, we could obtain 3-D GPR data of this survey area having areal extent over about $17,000m^2$ within only six-hours field work. Although the GPR data were obtained at random locations not along the pre-established profile lines, we could obtain high-resolution 3-D images showing many distinctive anomalies, which could be interpreted as old agricultural lands, waterways, and artificial structures or remains. This cast: history led us to the conclusion that 3-D GPR method is very useful not only to examine a small anomalous area but also to investigate the wider region of the archeological interests.

• Cartoon and Animation Studies
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• s.41
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• pp.279-306
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• 2015

This paper is a study of the changing nature of software for virtual Cyborg self and the virtual body that occur in the game from a philosophical point of view. Looking broadly, the cyborg concept refers to the combination of man and machine. Specifically, there is a hardware cyborg organism to combine human and restoration of machine In addition, there is software cyborg by electronic the human brain of converting a virtual body. Virtual games are cases software-Cyborg applied. In the game , There seems to have characteristics of virtual body and ego that different from general cyborg meaning. To analyze the features, I applied the concept of software-cyborg of Hans morabek and the multiple selves in cyberspace properties of Kim Sun-Hee. generally, software cyborg cloning the brain type tended to invalidate the body due to the nature of the virtual world. But If you look at third-person's view and the game character that made from real actors, it is pursuing the realism of photographic images and it stressed the need for a virtual body in order to maintain the psychological identity of the player. And, The game player crosses the eight characters to choose while completing the mission. This is a big role in the reality ego leads to the desired final ending with the selection and experience to be experienced as self-replication to multiple. These cyber multi-ego looks for an active and positive features compared to the multi-ego in the real world and highlights the advantages of the software cyborg. Game The characteristics of the final result varies depending on the selection of the player. The life and death of a friend is determined by the relationship between the characters friendship. In this case, the virtual self is empirically through trial and error, moral, and try to select the desired setting the standard for intuitive and self own choice. Also It can be fused to the knowledge of multiple selves as one step is formed by a high spiritual introspection. This process is a positive interpretation of the world and their own forms of mental reflection through self-overcoming human, Nietzsche is said that the process is Wibeomenswi.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of The Korean Association For Science Education
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• v.43 no.3
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• pp.253-263
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• 2023

This study explored the discrepancy between the text of a teacher's guide about straight and reflective light and the content knowledge of pre-service elementary teachers. A total of 455 questions and 543 answers generated by 279 pre-service elementary teachers after reading a 'Shadow and Mirror' unit in the teacher's guide were analyzed. The questions were classified according to the types of concepts and discrepancies, and the answers were analyzed for accuracy. The results of analyzing the concepts of questions revealed that the pre-service elementary teachers were most curious about the shadow in the straight concept, the mirror image in the reflection concept, and the light source in other concepts. The questions with a low correct answer rate due to incorrect- or non-answers, such as those concerning the superposition principle of light by reflection, the principle of experimental tools, and images by lenses, were only partially or not included in the teacher's guide. When the questions were classified according to the type of discrepancy, the frequency of questions due to knowledge deficit was higher than that due to knowledge clash. This demonstrates that the concepts that teachers need to know must be supplemented with the contents of the teacher's guide. Discrepancies due to knowledge clashes are often caused by conflicts between what is experienced in everyday life and what is presented in textbooks. Therefore, it is necessary to reduce the discrepancy between the texts of the teacher's guide and the knowledge of pre-service elementary teachers by including the differences between the actual context of everyday life and the context of the textbook in the teacher's guide.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Journal of Distribution Research
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• v.17 no.2
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• pp.29-62
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• 2012

As distribution environment is changing rapidly and competition is more intensive in the channel of distribution, the importance of retailer image and retailer equity is increasing as a different competitive advantages. Also, consumers are not functionally oriented and that their behavior is significantly affected by the symbols such as retailer image which identify retailer in the market place. That is, consumers do not choose products or retailers for their material utilities but consume the symbolic meaning of those products or retailers as expressed in their self images. The concept of self-image congruence has been utilized by marketers and researchers as an aid in better understanding how consumers identify themselves with the brands they buy and the retailer they patronize. Although self-image congruity theory has been tested across many product categories, the theory has not been tested extensively in the retailing. Therefore, this study attempts to investigate the impact of self image congruence between retailer image and self image of consumer on retailer equity such as retailer awareness, retailer association, perceived retailer quality, and retailer loyalty. The purpose of this study is to find out whether retailer-self image congruence can be a new antecedent of retailer equity. In addition, this study tries to examine how four-dimensional retailer equity constructs (retailer awareness, retailer association, perceived retailer quality, and retailer loyalty) affect customers' repatronage intention. For this study, data were gathered by survey and analyzed by structural equation modeling. The sample size in the present study was 254. The reliability of the all seven dimensions was estimated with Cronbach's alpha, composite reliability values and average variance extracted values. We determined whether the measurement model supports the convergent validity and discriminant validity by Exploratory factor analysis and Confirmatory Factor Analysis. For each pair of constructs, the square root of the average variance extracted values exceeded their correlations, thus supporting the discriminant validity of the constructs. Hypotheses were tested using the AMOS 18.0. As expected, the image congruence hypotheses were supported. The greater the degree of congruence between retailer image and self-image, the more favorable were consumers' retailer evaluations. The all two retailer-self image congruence (actual self-image congruence and ideal self-image congruence) affected customer based retailer equity. This result means that retailer-self image congruence is important cue for customers to estimate retailer equity. In other words, consumers are often more likely to prefer products and retail stores that have images similar to their own self-image. Especially, it appeared that effect for the ideal self-image congruence was consistently larger than the actual self-image congruence on the retailer equity. The results mean that consumers prefer or search for stores that have images compatible with consumer's perception of ideal-self. In addition, this study revealed that customers' estimations toward customer based retailer equity affected the repatronage intention. The results showed that all four dimensions (retailer awareness, retailer association, perceived retailer quality, and retailer loyalty) had positive effect on the repatronage intention. That is, management and investment to improve image congruence between retailer and consumers' self make customers' positive evaluation of retailer equity, and then the positive customer based retailer equity can enhance the repatonage intention. And to conclude, retailer's image management is an important part of successful retailer performance management, and the retailer-self image congruence is an important antecedent of retailer equity. Therefore, it is more important to develop and improve retailer's image similar to consumers' image. Given the pressure to provide increased image congruence, it is not surprising that retailers have made significant investments in enhancing the fit between retailer image and self image of consumer. The enhancing such self-image congruence may allow marketers to target customers who may be influenced by image appeals in advertising.