• 한국가시화정보학회:학술대회논문집
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• 2002.11a
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• pp.1-6
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• 2002

How is the flow in a rotating impeller. About 35 years have passed since one experimentalist rotating with the impeller. of a huge centrifugal blower made the flow measurements using a hot-wire anemometer (Fowler 1968). Optical measurement methods have great advantages over the intrusive methods especially for the flow measurement in a rotating impeller. One is the optical flow visualization (FV) technique (Senoo, et al., 1968) and the other is the application of laser velocimetry (LV) (Hah and Krain, 1990). Particle image velocimetries (PIVs) combine major features of both FV and LV, and are very attractive due to the feasibility of simultaneous and multi-points measurements (Hayami and Aramaki, 1999). A high-pressure-ratio transonic centrifugal compressor with a low-solidity cascade diffuser was tested in a closed loop with HFC134a gas at 18,000rpm (Hayami, 2000). Two kinds of measurement techniques by image processing were applied to visualize a flow in the compressor. One is a velocity field measurement at the inducer of the impeller using a PIV and the other is a pressure field measurement on the side wall of the cascade diffuser using a pressure sensitive paint (PSP) measurement technique. The PIV was successfully applied for visualization of an unsteady behavior of a shock wave based on the instantaneous velocity field measurement (Hayami, et al., 2002b) as well as a phase-averaged velocity vector field with a shock wave over one blade pitch (Hayami, et al., 2002a. b). A violent change in pressure was successfully visualized using a PSP measurement during a surge condition even though there are still some problems to be overcome (Hayami, et al., 2002c). Both PIV and PSP results are discussed in comparison with those of laser-2-focus (L2F) velocimetry and those of semiconductor pressure sensors. Experimental fluid dynamics (EFDs) are still growing up more and more both in hardware and in software. On the other hand, computational fluid dynamics (CFDs) are very attractive to understand the details of flow. A secondary flow on the side wall of the cascade diffuser was visualized based either steady or unsteady CFD calculations (Bonaiuti, et al.,2002). EFD and CFD methods will be combined to a hybrid method being complementary to each other. Measurement techniques by image processing as well as CFD calculations give a huge amount of data. Then, data mining technique will become more important to understand the flow mechanism both for EFD and CFD.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.181-187
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• 2019

The theme of "youth love film" is a strong point in the Korean film industry and has made remarkable achievements in the overseas market. Jae-young Kwak is a famous Korean film director and screenwriter. He is good at shooting "youth love film" with beautiful pictures, exquisite emotions and rich imagination. His films have unique charm and characteristics. This paper expounds the image style, characterization and theme. First of all, from the perspective of image style for this paper, analysis of the film is how to use different narratives and lens language to create a movie's atmosphere, makes the transfer of drunk the oriental beauty. Secondly, the main focus is on the director to find a new way to shape the characters in the film, and pay attention to the description of details, foreshadowing and explaining the plot. Thirdly, based on the theme, this paper analyzes the profound meaning behind romantic films, which reflect the yearning and pursuit of modern people, and people should pay attention to and think deeply. In the modern economic globalization, countries culture mutual exchanges and cooperation, South Korea many outstanding movie worth exploring and research, by studying the Jae-young director Kwak youth love films, excavate its popular film in the market of reason, analysis of the works reflect the aesthetic characteristics, which sums up the experience of the youth love film.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.827-832
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• 2024

The AI program Sora is a video production model that can be used innovatively and is the starting point of a major paradigm shift in video planning and production in the future. In this paper, through consideration of the characteristics, application, and process of the AI video production program, the characteristics of the AI design video production method were understood, and the production algorithm was considered. The detailed consideration and characteristics of the work creation process for the video graphic AI video generation program that will be intensified every year were examined. Next, the method of generating a customized video with a text prompt and the process of innovative production results different from the previous production method were considered. In addition, the design direction through the generation of AI images was studied through the review of the strengths and weaknesses of the image details of the recently announced AI music video results. By considering the security of the AI generation video Sora and looking at the internal process of the actual AI process, it will be possible to present indicators for the future direction of AI video model production and education along with the direction of the design designer and education system. In the text and conclusion, we analyzed the strengths and weaknesses and future status of OpenAI Sora image, concluded how to apply the Sora model's capabilities, limitations, quality, and human creativity, and presented problems and alternatives through examples of the Sora model's capabilities and limitations to increase human creativity.

• School Mathematics
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• v.14 no.4
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• pp.469-493
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• 2012

The purpose of this study is find the relation between students' concept and types of proof construction. For this, four undergraduate students majored in mathematics education were evaluated to examine how they understand mathematical concepts and apply their concepts to their proving. Investigating students' proof with their concepts would be important to find implications for how students have to understand formal concepts to success in proving. The participants' proof productions were classified into syntactic proof productions and semantic proof productions. By comparing syntactic provers and semantic provers, we could reveal that the approaches to find idea for proof were different for two groups. The syntactic provers utilized procedural knowledges which had been accumulated from their proving experiences. On the other hand, the semantic provers made use of their concept images to understand why the given statements were true and to get a key idea for proof during this process. The distinctions of approaches to proving between two groups were related to students' concepts. Both two types of provers had accurate formal concepts. But the syntactic provers also knew how they applied formal concepts in proving. On the other hand, the semantic provers had concept images which contained the details and meaning of formal concept well. So they were able to use their concept images to get an idea of proving and to express their idea in formal mathematical language. This study leads us to two suggestions for helping students prove. First, undergraduate students should develop their concept images which contain meanings and details of formal concepts in order to produce a meaningful proof. Second, formal concepts with procedural knowledge could be essential to develop informal reasoning into mathematical proof.

• Korean Journal of Remote Sensing
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• v.27 no.1
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• pp.33-41
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• 2011

In the information communication technology, it is world-widely apparent that trend movement from internet web to smartphone app by users demand and developers environment. So it needs kinds of appropriate technological responses from geo-spatial domain regarding this trend. However, most cases in the smartphone app are the map service and location recognition service, and uses of geo-spatial contents are somewhat on the limited level or on the prototype developing stage. In this study, app for extraction of corner point features using geo-spatial imagery and their linkage to database system are developed. Corner extraction is based on Harris algorithm, and all processing modules in database server, application server, and client interface composing app are designed and implemented based on open source. Extracted corner points are applied LOD(Level of Details) process to optimize on display panel. Additional useful function is provided that geo-spatial imagery can be superimposed with the digital map in the same area. It is expected that this app can be utilized to automatic establishment of POI (Point of Interests) or point-based land change detection purposes.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.1-15
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• 2015

The purpose of this study was to analyze the commemoration characteristics of Vietnam War Memorials(VWM) in the United States(VWMUS). Through site survey and internet research, the researcher selected 87 VWMUS except monuments simply with markers, and analyzed 5 analysis items: design concepts, spatial characteristics, landscape details, sculptures, and interpretive texts and symbols. The results are as follows: 1. The analysis revealed that the main concepts of VWMUS were to cherish victims of the Vietnam War(85 sites (97.7%)), show veteran's dedication for country(85 sites(97.7%)), and publicize the contribution of groups by troop, regional, and membership(84 sites(96.6%)). 2. Most VWMUS were located in memorial parks and plazas. 59 memorials(67.8%) were designed to pursue the completion of each memorial assuming the form of symmetry and circles. On the other hand, 12 memorials(13.8%) were typed memorial walls and 11 memorials(12.6%) were formed by spatial sequence including various landscape details and grading. 3. Stone walls were mainly used to cherish victims of the War at 65 memorials(74.7%), and also, Flags like the Stars and Stripes, POW MIA flags, and state flags were hoisted to symbolize memorial's identity at all memorials. Additionally, Benches, monuments, markers, posts and columns, ponds and channels, Helicopters were partially introduced some memorials. 4. Sculptures were used 21 memorials(24.1%) which were smaller in numbers than other War Memorial in the U.S.A., for black stonewall were used for the main element of VWMUS. Except for a few sculptures that aimed to represent the Vietnam War symbolically and narratively, 16 memorials(18.4%) were formed to realistically express the image of wounded soldiers and their hardship in the Vietnam War. 5. KIA, MIA, Veteran's name were written and their images depicted on walls, Also, the symbolic phrase, 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY' were written on the memorials walls, and the POW MIA symbols were printed on the flags and engraved on walls. 6. In the United States of America, Democratic patriotism was considered a main ideological value in VWMUS by engraving KIA MIA's names on the walls, hoisting flags Stars and Stripes and POW MIA, and writing symbolic phrases 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY'. On the contrary, in Vietnam, nationalism, patriotism, and socialism were emphasized as main ideologies through raising war victory and resistance to foreign power as well as writing the symbolic phrase 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement' on memorial towers. Further study will be required to comparatively analyze VWM in order to understand national characteristics in Korea, Australia, U.S.A, and Vietnam.

• Aerospace Engineering and Technology
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• v.4 no.2
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• pp.107-116
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• 2005

As a unique payload of Komsat-2, MSC, comprising EOS(Electro-Optical Sub-system), PMU(Payload Management Unit) and PDTS(Payload Data Transmission Sub-system), is supposed to take pictures of one panchromatic and 4 multi-spectral image between wavelength 450mm~900mm, and is being under final Satellite I&T. It will perform the earth remote sensing with applications such as acquisition of high resolution images, surveillance of large scale disasters and its countermeasure, survey of natural resources, etc.. Under the hostile influence of the extreme space environmental conditions due to deep space and direct solar flux, the thermal design is especially of major importance in designing a payload. There are tight temperature range restrictions for electro-optical elements while on the other hand there are low power consumption requirements due to the limited energy source on the spacecraft. This paper describes details of thermal control system for MSC.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.4
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• pp.563-573
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• 2009

This study analyzed the trends and aesthetic characteristics of fur design found in the contemporary fashion to examine the status of fur material in the contemporary fashion design, and through an analysis of the meaning it attempted to come up with a new viewpoint and form on material for the future fashion design. A literature review was used to explore the kinds and properties of furs. In addition, an empirical analysis of works that have appeared in fashion collections since the year 2000 was conducted with local and foreign fashion magazines such as Gap, Vogue, and Mode & Mode and other publications related to fashion collections. In the contemporary fashion, the trends of fur design are represented by use of various items, material combinations, application to decorative purposes(like trimmings, details, or accessories), and a wide range of colors and textures available by advanced dyeing and finishing techniques. The aesthetic values intrinsic to fur design are that the expression of conspicuous luxury covers even the qualitative aspect of luxury and adds fashionable images to casual items, contributing to the popularization of fur fashion, by using a variety of artificial furs; the expression of sensual feminine beauty allows the animal and primitive feel characteristic of furs to convert a feminine body into a sensual image of more than a simple biological impulse; and the expression of hybridity presents a new viewpoint through distortions, exaggerations, deviations from the existing constituent forms, or futuristic sensibilities in all elements of fashion design.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.29 no.4
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• pp.18-29
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• 2015

The purposes of this research and development are as follows: first, to provide pleasant driving environments inside tunnels; second, to improve the current illumination environments lacking in diffusion luminance meters to meet tunnel lighting standards; and, third, to reduce the consumption of tunnel lighting energy accounting for approximately 65% of tunnel maintenance costs because of inadequate visual environments and tunnel operations. Further details are listed below. Firstly, an image luminance meter for tunnels that can implement the L20-method which is a tunnel luminance method that follows the international standards of CIE88, which was developed in order to improve and change the existing illumination-based tunnel lighting operation system to a luminance-based system. (The margin of error of below 5% according to the results of a test by an authorized agency and field test). Secondly, early illumination control is possible since the lighting control system that can be operated based on luminance enables interlocking control of the inside and outside of a tunnel using ethernet communication. Thirdly, guidelines for field application of the system are proposed. In addition, the luminance inducers of tunnels are found and the reflexibility of each facility that may reduce luminance of the boundaries is also proposed. Fourthly, as a result of a test bed, power consumption of luminance-based lighting operations decreased by 15.6% compared to illumination-based operations. Applying the feedback controls and maintenance factors of internal/external luminance meters, it reduced by 36.4%. Therefore, we became able to provide a luminance-based lighting operation system that complies with tunnel lighting design standards and provides a visual environment for drivers.