• Journal of the Economic Geographical Society of Korea
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• v.22 no.2
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• pp.123-140
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• 2019

Empathy is the ability to feel, understand, and respond to the emotions of others from the standpoint of others. Recently, 'sympathy' has emerged as an important issue not only in emotional empathy in relation to individuals but also in 'social empathy', which sees sympathy as a basic principle for maintaining society. This study focuses on the issue of empathy as a new driving force for modern society and focused on 'urban scene' as a spatial application for cultural empathy in the city. Urban scenes approach the city as a space of consumption, classify it according to its inherent attributes, and analyze its characteristics. This study approaches the existing urban scene theory in terms of empathy. In addition, as a way to consume city images reflected on contents, a concrete example of 'contents tourism'is examined, and a 'contents scene' is proposed as a new urban scene and its meaning and possibility are presented.

• Journal of the Korean Institute of Landscape Architecture
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• v.17 no.1
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• pp.55-68
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• 1989

^x This paper focuses on clarifying the diverse conceptions of landscape, of which ambiguity gives rise to confusion to the theory and practice of landscape architecture. Landscape in the form of landscipe has once indicated land, a defined space or a humanized environment, cultivated and inhabited for the purpose of biological sustenance of ordinary people. With the advent of landschap(landscape) painting, its concept moved from the real world to the scenery, a prospect, 'a portion of earth's surface that can be seen at once by a man who is himself upon the surface. 'Once appeared, it remained as a central concept until the 19th century when the modern land-scape architecture, which claims to stand for the democratic planning and environmental design, emerged. However, it still survives as the most popular concept :a landscape is a man-made, beautiful scene. To the contrary, the geographers hold that a landscape is not an actual scene viewed by a particular observer, but is a generalization induced from the observation of many individual scene. Since it is not only very attractive to the general public, but also very important to the designers, scholars and artists, operational definitions of landscape are urgently needed.

• Cartoon and Animation Studies
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• s.14
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• pp.83-99
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• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• ETRI Journal
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• v.40 no.3
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• pp.376-388
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• 2018

In through-the-wall radar imaging (TWRI), the presence of front and side walls causes multipath propagation, which creates fake targets called multipath ghosts. They populate the scene and reduce the probability of correct target detection, classification, and localization. In modern TWRI, specular multipath exploitation has received considerable attention for reducing the effects of multipath ghosts. However, this exploitation is challenged by the requirements of the reflecting geometry, which is not always available. Currently, the demand for a high radar image resolution dictates the use of a large aperture and wide bandwidth. This results in a large amount of data. To tackle this problem, compressive sensing (CS) is applied to TWRI. With CS, only a fraction of the data are used to produce a high-quality image, provided that the scene is sparse. However, owing to multipath ghosts, the scene sparsity is highly deteriorated; hence, the performance of the CS algorithms is compromised. This paper presents and discusses the adverse effects of multipath ghosts in TWRI. It describes the physical formation of ghosts, their challenges, and existing suppression techniques.

• Trans-
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• v.3
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• pp.1-28
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• 2017

As the field of film aesthetics expands, the concept of classical the mise-en-scene expands too its scope. This paper examines the concept of mise-en-scene through spatial connections. The primary goals of this study are understanding the relation between the frame and the shot, the continuity between the scene and the sequence, and the aesthetic dimension to the plan-sequence. In modern cinema theory, the elements of mise-en-scene are more emphasized in terms of efficiency, but this study is concerned that the classical aesthetic system is still important. To this end, we examine the concept of plan-sequence, which was called the best technique of past visual realism aesthetics, is utilized in digital cinema. Finding significance for the modern use of plan-sequences is a secondary goal of this paper and we expect it to be a stepping stone to search for the aesthetics of digital cinema. The plan-sequence is one of the important factors that can be evaluated in the preparation and application of the event for the movie director. In the real world where the film itself is used commercially, digital film will have a conceptual tool that can utilize allegorics of 'geopolitical unconsciousness' through plan-sequences.

• Journal of Digital Contents Society
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• v.18 no.4
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• pp.777-785
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• 2017

In the modern real world, we can extract and recognize some texts to get a lot of information from the scene containing them, so the techniques for extracting and recognizing text areas from a scene are constantly evolving. They can be largely divided into texture-based method, connected component method, and mixture of both. Texture-based method finds and extracts text based on the fact that text and others have different values such as image color and brightness. Connected component method is determined by using the geometrical properties after making similar pixels adjacent to each pixel to the connection element. In this paper, we propose a method to adaptively change to improve the accuracy of text region extraction, detect and correct the slope of the image using edge and image segmentation. The method only extracts the exact area containing the text by correcting the slope of the image, so that the extracting rate is 15% more accurate than MSER and 10% more accurate than EEMSER.

• Journal of Information Processing Systems
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• v.17 no.1
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• pp.124-135
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• 2021

Object detection is a fundamental yet challenging task in computer vision that plays an important role in object recognition, tracking, scene analysis and understanding. This paper aims to propose a multiproperty fusion algorithm for moving object detection. First, we build a scale-invariant feature transform (SIFT) vector field and analyze vectors in the SIFT vector field to divide vectors in the SIFT vector field into different classes. Second, the distance of each class is calculated by dispersion analysis. Next, the target and contour can be extracted, and then we segment the different images, reversal process and carry on morphological processing, the moving objects can be detected. The experimental results have good stability, accuracy and efficiency.

• Journal of architectural history
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• v.7 no.2 s.15
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• pp.77-90
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• 1998

This study on the site of vision in the Villa Savoye of Le Corbusier, concentrates on the precise analysis of the meaning of 'fenetre on longueur' in the living room. A lots of architectural theorists have regarded the Villa Savoye of Le Corbusier as a symbol of modern architecture, and his 'fenetre on longueur' as products of modern technology. But Le Corbusier who defined himself as 'homme visuel', responded keenly to the vision conditions inherent to the human finitude, Indifferent to the modern technology, Such a response would be derived from the experience of Acropolis, where 'the scheme was designed to be seen from a distance.' Generally speaking, 'fenetre en longueur', contra to 'porte-fenetre', makes one to focus on the panorama effect of the horizon, including a distant view. Entering the living room of Villa Savoye, however, we may perceive this window in two ways. Firstly this window acts as a screen to obstruct not to see outside, because of the wall above pressing down the line of view. Secondly this acts as a frame to make us see a distant view as far as eye can reach. These two ways result in the abbreviation of near view, and a sudden shift between a inferiority(derived from 'screen effect') and a distant view(from 'frame effect'). Depending on such a observation, this study can evaluate 'fenetre en longueur' internalizing of a distant view as the highest compressed scene of Le Corbusier's architectural poetics.

• Journal of architectural history
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• v.25 no.1
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• pp.69-83
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• 2016

Classic rationalist architecture came to play an important role in modern architectural discourse in the 1970s. But it has declined since the death of its most representative architects Aldo Rossi and O. M. Ungers. However, the phenomenon to be noted is that a new momentum was brought to the German architectural scene through some remarkable achievements by the disciples of Ungers after 2000. This study aims to read this phenomenon on the topography of german architecture and to catch out what potential it has to create balance in the international architectural debate. It is not the aim to analyze a single architect in detail, but to compare some important architects like Hans Kollhoff, Max Dudler, Eun-Young Yi and Uwe $Schr{\ddot{o}}der$. And further the study will try to give an overview of how far this phenomenon can change the topography of the German architectural scene. The buildings that have been examined here are Daimler Chrysler Building, Grimm Zentrum, Stuttgart City Library, and Haus Hundertacht. Through this study, it was found that some architects continue the attitude and the architectural languages of O. M. Ungers and develope their own unique architecture. And this phenomenon has the potential to influence todays architectural debate on a global scale.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.561-568
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• 2018

This thesis focuses on the five functions of film music as proposed by American composer Aaron Copland, and the application of these functions in the modern film Cinema Paradiso featuring music by Italian composer Ennio Morricone. Morricone has shown the application of these techniques in Western films such as the 1960s film A Fistful of Dollars and the top-rated 1980s films The Mission and Cinema Paradiso. Through his work, he maximizes the effects of representation in each scene by using variations of the theme music to effectively apply the functional theory of film music. Cinema Paradiso, especially, pursued the consistency and diversity of film at the same time. And it emphasized the specific atmosphere, intending to provide continuity in the scenes during the progress of the film. This thesis provides an understanding of the variation technique in film music, and the functionality of film music from scene to scene, as used by Morricone, for students majoring in film music.