• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.106-113
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• 2005

New images percolate through human consciousness by the media such as movies, TV programs, and brilliant advertisements. These images reproduce new ' things ' throughout the ' semantic processes ' by those who experience and recognize them. Alvin Toffler describes it as the ' information bomb ' and ' image fragments ' in his talk about the new paradigm of information-oriented era. The increasing number of images and their accelerating rate of appearance imply that images become more momentary, and are evidence that they are transforming entire human life and consciousness. Such awareness means a lot to a designer. Especially, the subject that how modern space-dominating images are related to the structure and materials constituting the space and communicate with human mind will be an important factor in establishing the human-space relationship in the future. Furthermore, the present age overspread with various medium is not the only one privileged of the images that exist within space. They are the results of continuous expansion of existing images, and also process of evolution of space powered by the fusion of images and digital media. Imagified space is a boundary layer of Cyberspace, and the space itself becomes an interface by human recognition and participation. Now, the functional classification of spaces such as ' office, ' ' cafe, ' and ' school ' is meaningless. Whatever it may be, the function of a space is defined by the information it interfaces, and therefore it becomes an interface to information through a large number of images. Based on this idea, we will observe the imagificaiton of space in the form of discussion, and from that, try to understand the phenomenon through the real world examples.

• Journal of Animal Science and Technology
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• v.65 no.3
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• pp.638-651
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• 2023

The objective of this study was to quantitatively estimate the level of grazing area damage in outdoor free-range pig production using a Unmanned Aerial Vehicles (UAV) with an RGB image sensor. Ten corn field images were captured by a UAV over approximately two weeks, during which gestating sows were allowed to graze freely on the corn field measuring 100 × 50 m². The images were corrected to a bird's-eye view, and then divided into 32 segments and sequentially inputted into the YOLOv4 detector to detect the corn images according to their condition. The 43 raw training images selected randomly out of 320 segmented images were flipped to create 86 images, and then these images were further augmented by rotating them in 5-degree increments to create a total of 6,192 images. The increased 6,192 images are further augmented by applying three random color transformations to each image, resulting in 24,768 datasets. The occupancy rate of corn in the field was estimated efficiently using You Only Look Once (YOLO). As of the first day of observation (day 2), it was evident that almost all the corn had disappeared by the ninth day. When grazing 20 sows in a 50 × 100 m² cornfield (250 m²/sow), it appears that the animals should be rotated to other grazing areas to protect the cover crop after at least five days. In agricultural technology, most of the research using machine and deep learning is related to the detection of fruits and pests, and research on other application fields is needed. In addition, large-scale image data collected by experts in the field are required as training data to apply deep learning. If the data required for deep learning is insufficient, a large number of data augmentation is required.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.11-20
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• 2015

Digital watermarking provides electronic means for proving the copyrights of distributed digital media copies. Research on digital watermarking for images is recently directed toward that for color images extensively used in real life, based on the substantial results in digital watermarking for gray-scale images. Color images have multiple channels, each of which corresponds to a gray-scale image. While there are some watermarking techniques for color images that just apply those for gray-scale images to one channel of the color images, the correlation characteristics between the channels are not considered in them. This paper proposes a zero-watermarking technique that makes keys via combining an image dependent watermark, created through comparing two channels of the color image and copyright watermark scrambled. Due to zero-watermarking, it does not change anything of cover(host) images. Watermark images are robust against some common attacks such as sharpening, blurring, JPEG lossy compression, scaling, and cropping.

• Journal of Animal Science and Technology
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• v.63 no.3
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• pp.614-625
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• 2021

This study investigates how visual appearance of pork cuts affects consumer preference. Images of pork belly, Boston butt, and loin were chosen on the basis of visible fattiness and used to analyze consumers' perception of the appearance of each pork cut. Meat color and visible fat proportion of images of pork cuts were analyzed by the researchers before conducting the survey. A total of 211 pork eaters evaluated the pork cuts based on appearance (lightness of color, redness, visible fat proportion, and fat distribution), preferability, and overall acceptability. Also, muscle pieces from different pork cuts were taken and the relative area composition of muscle fibers was measured. Based on survey results, correlation between visual traits and preferences of each pork cut was analyzed. The survey results showed that preferred pork appearance varied as per each individual's favorite pork cut. Also, the respondents evaluated visual characteristics and preference for each pork cut differently possibly due to the different visual characteristics of each cut. Correlation analysis between visual traits and preference indicated that overall acceptability of pork cuts was mainly influenced by fat preference, followed by color preference. Fat and color preferences for each pork cut were affected by various visual attributes including redness, lightness of color, visible fat proportion, and fat distribution, but their effects were considerably varied among different pork cuts. Thus, Korean consumers perceived and assessed pork appearance using various quality cues but the evaluation depended on which cut was being observed.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• SUVANNABHUMI
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• v.2 no.1
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• pp.17-53
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• 2010

The Chandi Borobudur was likely constructed around 800 AD, during the period of the Sailendra dynasty in central Java, Indonesia. The Chandi Borobudur have 1460 narrative panels of reliefs which are distributed from the hidden foot to the fourth gallery. The 160 panels show various scenes of actions producing the corresponding results according to the Karmavibhanga(分別善惡報應經) text. Blameworthy activities with their purgatorial punishments and praiseworthy activities with their subsequent rewards are both shown. The 120 panels depict the biography of Buddha according to the Lalitavistara (方廣大莊嚴經) text. The 620 panels depict stories from Jatakas (本生譚) and Avadanas (譬喩經). The stories of 560 panels are based on Mahayayana (入法界品, 488 panels) and Bhadrucari (普賢行願讚, 72 panels) of Gandavyuha (華嚴經) text. In this study, among the 120 narrative reliefs which tell the life story of Buddha according to the Lalitavistara text in Chandi Borobudur, the images of Birth of Siddhārtha(誕生), The Great Departure (出家), Attaintment of Enlightenment (成道) and The First Sermon (初轉法輪) have been compared with the images of biography of Buddha showing in Ancient India, Gandhara and South India, and China. From a historical perspective of cultural exchange, Borobudur is very important site because it is located on the south route of transmission of Buddhism from India to South Asia, China, Korea and Japan. Study on the reliefs sculptured on the wall of Chandi Borobudur provide us information to understand the process of spreading and changes in styles of Buddhist arts.

• Journal of Ecology and Environment
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• v.41 no.3
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• pp.85-92
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• 2017

Unmanned aerial vehicles (UAVs) are a new and yet constantly developing part of forest inventory studies and vegetation-monitoring fields. Covering large areas, their extensive usage has saved time and money for researchers and conservationists to survey vegetation for various data analyses. Post-processing imaging software has improved the effectiveness of UAVs further by providing 3D models for accurate visualization of the data. We focus on determining the coniferous tree coverage to show the current advantages and disadvantages of the orthorectified 2D and 3D models obtained from the image photogrammetry software, Pix4Dmapper Pro-Non-Commercial. We also examine the methodology used for mapping the study site, additionally investigating the spread of coniferous trees. The collected images were transformed into 2D black and white binary pixel images to calculate the coverage area of coniferous trees in the study site using MATLAB. The research was able to conclude that the 3D model was effective in perceiving the tree composition in the designated site, while the orthorectified 2D map is appropriate for the clear differentiation of coniferous and deciduous trees. In its conclusion, the paper will also be able to show how UAVs could be improved for future usability.

• Journal of Fashion Business
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• v.13 no.1
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• pp.1-16
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• 2009

The purpose of this study was to evaluate the clothing image of the Daks and Superior golf wear, and to compare the perceiver's image perception with clothing image in fashion industry, and to find out the differences of image perception between the buying groups and non-buying groups of the Daks and Superior golf wear, for developing the possibility and strategy of the golf wear market for the apparel marketers and manufacturers. In this study, the data obtained from 193 respondents were analyzed by the descriptive statistics, average analysis. The results from the data were as follows : The questionnaire of the image evaluation rated on 7 point Likert-type scales in the 17 features were evaluated by perceivers. The clothing images by 103 respondents(Daks group) were not in accord with the clothing images expressed on homepage of the Daks golf wear. In the other hands, the clothing images by the 90 respondents(Superior group) were in accord with the clothing images expressed on homepage of the golf wear. There were significant differences in evaluating the clothing images between the buying groups and non-buying groups of the Daks and Superior golf wear. The buying groups of the Daks and Superior golf wear perceived the clothing image of the Daks and Superior golf wear more dynamic, positive than the non-buying groups.

• Journal of Fashion Business
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• v.12 no.2
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• pp.12-27
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• 2008

The purpose of this study is to study main characters' (Roxie Hart, Velma Kelly) costumes and color images in the movie "Chicago". First, regarding the costumes and color images in characters, Roxie's straight silhouette slip in skin tone reflected her frailty and monotonous routines in reality. On the other hand, a white beaded dress showed her fame-hungry and self-absorption in fantasy. Also, a low waistline blue dress and a see-through black dress with a white collar were to disguise her guilt and draw sympathy to win a suitcase. Black and contrasting colors of red and blue body-suit style dresses expressed Velma's sensual attraction, aggressiveness, and desperation. Second, these images were reinforced by color images in the backgrounds in the film. On the scene of Velma's 'cell block tango', black and red showed her strong character. Contrasting colors of the red and blue expressed Velma's desire and despair in her act of 'the desperation'. As for images of black color on Roxie's stages, they represented her self-absorption and frustration of failing to attract public attention. On the ending of duet performance of Roxie and Velma, the yellow of the background expressed success and joy in life.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.911-922
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• 2002

This research aims to study comparatively on the aesthetic characteristics of the Technology Art and Technology Fashion Images in the 20th century. For this purpose, literature survey and demonstrative study were undertaken. The results were as follows ; As the concept of the art in the 20th century has been broadened by the development of technology and the creative application of it in the art, the relationship of the art and fashion has been much closer. The Technology Art and Technology Fashion Images in the 20th century have been developed by using technology itself and its artifacts directly or indirectly to express their attitude on the advancement of technology of the time. The plasticity of the Technology Art and Technology Fashion Images in the 20th century was identified as geometrical forms, high-tech materials, futuristic colors and lights and dynamic expression. The internal meanings of the Technology Art and Technology Fashion Images in the 20th century were identified as functionality, arrant-garde, utopian future orientation to improve human's life.