• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.6
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• pp.79-88
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• 2012

The purpose of this study were to classify the Y/N in participating the urban farming and to analyze the intention in farm village experience tourism, reason to participate and non-participation, the positive image and negative image between the urbanite group experience in urban farming and the other group that does not experience it. Questionnaire was implemented to the metropolitan urbanite who visited exemplary field farmhouse and urban recreation space to analyze the comparison of groups that experience or do not experience urban farming. The result of this research is as follows: first, experiencing urban farming are relatively less in willingness to participate in the farm village tourism experience than those who do not experience it. Second, the largest reason to participate in farm village tourism experience is found to be the natural environment of farm village tourism experience that is different from that of the city and the effect on children's education. Third, most answers on the reason for not participating in farm village tourism experience is because of the busy daily life. Fourth, urbanite have positive image in general about farm village tourism experience. Especially, when the comparison between the groups was made, it was showed that the difference in understanding the crops growing and the natural environment difference in the city. Fifth, about the negative image on the farm village tourism experience, it showed the difference in understanding the unfamiliar scenery, shortage of eye catching and fun, and the necessity and cost between the groups. Consequently, this study may be significant in the recognition of the farm village tourism experience on urbanite were checked, it was revealed that Y/N experience in the urban farming made negative influence to the willing.

• Cartoon and Animation Studies
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• s.39
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• pp.413-450
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• 2015

Although cartoons have been recognized for their great potential and value, they have failed to bloom in Korea. This is because wrong perception and irregular distribution of cartoons have been repeated for the last several years. Presently, however, cartoons are escaping from chronic problems they have had for long and welcoming splendid chances now. From the mid- and late-1990's, there have been large-scale events having cartoons as their theme, and social recognition on cartoons is becoming more and more positive. Their contents are diversified, readers are increased, and they are escaping from stereotypes through harmony with other media. Lately, either large or small exhibitions for cartoons are being planned, and Korean cartoons are going overseas and producing exhibitions there. Particularly, visitors' appreciative eye is getting keener, and they begin to see them not as a genre underestimated as low culture like in the past but as a kind of art on which independent research is being actively conducted. One of the biggest factors that have allowed cartoons to be positioned as visual art is the form of exhibitions that combine them with other genres artistically. Especially the cartoon exhibitions being held these days are aggressively introducing various elements of the cartoon genre through the medium of exhibitions not just as a mere tool of seeing to help understand cartoon writers or works. The genre of cartoons is now regarded as an active subject that can reflect its own unique essence in this rapidly changing cultural environment and extend the range of it itself. The latest cartoon exhibitions are characterized by trans-genre and complex aspects in terms of their direction or organization according to the contents, space, or theme. This trend of cartoon exhibitions implies that they are subdividing, analyzing, and planning various factors not in a horizontal way that was centered around image as in the past. It means that cartoon exhibitions are evolving as a form of mobilizing, combining, and reproducing various methods. Although a number of cartoon exhibitions are being held with a variety of themes, there is still lack of research on cartoon exhibitions concerning their forms and contents. Therefore, this researcher sees cartoon exhibitions as a factor that allows cartoons to escape from negative recognition and examines various cartoon exhibitions, from Seoul International Cartoon Animation Festival to the ones that are recently held, to figure out the meaning of Korean cartoon exhibitions. Furthermore, this researcher will find out the factors of planning and popularity in international exhibitions or personal cartoon exhibitions being presently held and figure out new directions and potentials for Korean cartoon exhibitions based on that. To meet the needs of visitors whose expectations have become even higher, it is needed to try not just previous methods but experimental and original planning as well constantly. To realize that, it is necessary to keep providing a field of opportunity where cartoon works, cartoon writers, and visitors can communicate as in an exhibition. It is expected that this study will trigger research on cartoon exhibitions to be performed multilaterally and produce new discourse on cartoon exhibitions afterwards.

• Journal of KIISE:Software and Applications
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• v.30 no.9
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• pp.829-842
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• 2003

In this Paper, we propose the new face detection and tracking method based on template matching for real-time applications such as, teleconference, telecommunication, front stage of surveillance system using face recognition, and video-phone applications. Since the main purpose of paper is to track a face regardless of various environments, we use template-based face tracking method. To generate robust face templates, we apply wavelet transform to the average face image and extract three types of wavelet template from transformed low-resolution average face. However template matching is generally sensitive to the change of illumination conditions, we apply Min-max normalization with histogram equalization according to the variation of intensity. Tracking method is also applied to reduce the computation time and predict precise face candidate region. Finally, facial components are also detected and from the relative distance of two eyes, we estimate the size of facial ellipse.

• Proceedings of the Korean Institute Of Construction Engineering and Management
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• autumn
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• pp.180-185
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• 2003

The increase of traffic over a bridge has been emerged as one of the most severe problems in view of bridge maintenance, since the load effect caused by the vehicle passage over the bridge has brought out a long-term damage to bridge structure, and it is nearly impossible to maintain operational serviceability of bridge to user's satisfactory level without any concern on bridge maintenance at the phase of completion. Moreover, bridge maintenance operation should be performed by regular inspection over the bridge to prevent structural malfunction or unexpected accidents front breaking out by monitoring on cracks or deformations during service. Therefore, technical breakthrough related to this uninterested field of bridge maintenance leading the public to the turning point of recognition is desperately needed. This study has the aim of development on automated inspection system to lower surface of bridge superstructures to replace the conventional system of bridge inspection with the naked eye, where the monitoring staff is directly on board to refractive or other type of maintenance .vehicles, with which it is expected that we can solve the problems essentially where the results of inspection are varied to change with subjective manlier from monitoring staff, increase stabilities in safety during the inspection, and make contribution to construct data base by providing objective and quantitative data and materials through image processing method over data captured by cameras. By this system it is also expected that objective estimation over the right time of maintenance and reinforcement work will lead enormous decrease in maintenance cost.

• Asia pacific journal of information systems
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• v.18 no.3
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• pp.123-145
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• 2008

Recently, as the information communication technology develops, the discussion regarding the ubiquitous environment is occurring in diverse perspectives. Ubiquitous environment is an environment that could transfer data through networks regardless of the physical space, virtual space, time or location. In order to realize the ubiquitous environment, the Pervasive Sensing technology that enables the recognition of users' data without the border between physical and virtual space is required. In addition, the latest and diversified technologies such as Context-Awareness technology are necessary to construct the context around the user by sharing the data accessed through the Pervasive Sensing technology and linkage technology that is to prevent information loss through the wired, wireless networking and database. Especially, Pervasive Sensing technology is taken as an essential technology that enables user oriented services by recognizing the needs of the users even before the users inquire. There are lots of characteristics of ubiquitous environment through the technologies mentioned above such as ubiquity, abundance of data, mutuality, high information density, individualization and customization. Among them, information density directs the accessible amount and quality of the information and it is stored in bulk with ensured quality through Pervasive Sensing technology. Using this, in the companies, the personalized contents(or information) providing became possible for a target customer. Most of all, there are an increasing number of researches with respect to recommender systems that provide what customers need even when the customers do not explicitly ask something for their needs. Recommender systems are well renowned for its affirmative effect that enlarges the selling opportunities and reduces the searching cost of customers since it finds and provides information according to the customers' traits and preference in advance, in a commerce environment. Recommender systems have proved its usability through several methodologies and experiments conducted upon many different fields from the mid-1990s. Most of the researches related with the recommender systems until now take the products or information of internet or mobile context as its object, but there is not enough research concerned with recommending adequate store to customers in a ubiquitous environment. It is possible to track customers' behaviors in a ubiquitous environment, the same way it is implemented in an online market space even when customers are purchasing in an offline marketplace. Unlike existing internet space, in ubiquitous environment, the interest toward the stores is increasing that provides information according to the traffic line of the customers. In other words, the same product can be purchased in several different stores and the preferred store can be different from the customers by personal preference such as traffic line between stores, location, atmosphere, quality, and price. Krulwich(1997) has developed Lifestyle Finder which recommends a product and a store by using the demographical information and purchasing information generated in the internet commerce. Also, Fano(1998) has created a Shopper's Eye which is an information proving system. The information regarding the closest store from the customers' present location is shown when the customer has sent a to-buy list, Sadeh(2003) developed MyCampus that recommends appropriate information and a store in accordance with the schedule saved in a customers' mobile. Moreover, Keegan and O'Hare(2004) came up with EasiShop that provides the suitable tore information including price, after service, and accessibility after analyzing the to-buy list and the current location of customers. However, Krulwich(1997) does not indicate the characteristics of physical space based on the online commerce context and Keegan and O'Hare(2004) only provides information about store related to a product, while Fano(1998) does not fully consider the relationship between the preference toward the stores and the store itself. The most recent research by Sedah(2003), experimented on campus by suggesting recommender systems that reflect situation and preference information besides the characteristics of the physical space. Yet, there is a potential problem since the researches are based on location and preference information of customers which is connected to the invasion of privacy. The primary beginning point of controversy is an invasion of privacy and individual information in a ubiquitous environment according to researches conducted by Al-Muhtadi(2002), Beresford and Stajano(2003), and Ren(2006). Additionally, individuals want to be left anonymous to protect their own personal information, mentioned in Srivastava(2000). Therefore, in this paper, we suggest a methodology to recommend stores in U-market on the basis of ubiquitous environment not using personal information in order to protect individual information and privacy. The main idea behind our suggested methodology is based on Feature Matrices model (FM model, Shahabi and Banaei-Kashani, 2003) that uses clusters of customers' similar transaction data, which is similar to the Collaborative Filtering. However unlike Collaborative Filtering, this methodology overcomes the problems of personal information and privacy since it is not aware of the customer, exactly who they are, The methodology is compared with single trait model(vector model) such as visitor logs, while looking at the actual improvements of the recommendation when the context information is used. It is not easy to find real U-market data, so we experimented with factual data from a real department store with context information. The recommendation procedure of U-market proposed in this paper is divided into four major phases. First phase is collecting and preprocessing data for analysis of shopping patterns of customers. The traits of shopping patterns are expressed as feature matrices of N dimension. On second phase, the similar shopping patterns are grouped into clusters and the representative pattern of each cluster is derived. The distance between shopping patterns is calculated by Projected Pure Euclidean Distance (Shahabi and Banaei-Kashani, 2003). Third phase finds a representative pattern that is similar to a target customer, and at the same time, the shopping information of the customer is traced and saved dynamically. Fourth, the next store is recommended based on the physical distance between stores of representative patterns and the present location of target customer. In this research, we have evaluated the accuracy of recommendation method based on a factual data derived from a department store. There are technological difficulties of tracking on a real-time basis so we extracted purchasing related information and we added on context information on each transaction. As a result, recommendation based on FM model that applies purchasing and context information is more stable and accurate compared to that of vector model. Additionally, we could find more precise recommendation result as more shopping information is accumulated. Realistically, because of the limitation of ubiquitous environment realization, we were not able to reflect on all different kinds of context but more explicit analysis is expected to be attainable in the future after practical system is embodied.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.