• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.220-233
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• 2006

The purpose of this study is to reviews the Chinesm expressed in the modern fashion world after the year 2000, and underlines the characteristics of Chinesm, as the Chinese fashion market is getting bigger and becomes the cynosure of the world. The method of this study is by research on precedence as well as related researches in Korean and foreign books. The results were as follows. First, the Chinesm recreates the historic motive which is the traditional costume, ornaments, or make-up etc. to maintain the harmony between the modernity and the past, preventing from following or mimicking. Second, the Chinesm expresses the combinational and harmonious manner with the combined image on the Chinese original symbolic factors mixing with the foreign spatial-temporal elements, the various styles of wear and decoration, and the different images to have the natural or equivocal relationship with one another. Third, The Chinesm magnifies the feminine atmosphere to express the sensual image by using effectively the traditional design factors, which is tight silhouette, coverture, and exposure. Fourth, the Chinesm professes the pro-naturalism embracing the human without conflicting with the human nature. It seems possible on the new value mixed with colors, materials, or patterns, etc.

• Cross-Cultural Studies
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• v.35
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• pp.35-58
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• 2014

This article aims to explain the 'people-image' of Bakhtin's works in the light of "Transgredience" and "Transition." According to Bakhtin, the real core of every culture is the people. But he did try to answer the question "what is the people?" I think, the secret of Bakhtinian thought is located in the people-image, because it is the one of the territories that have not been explained. For this purpose, we have to examine four images represented by Bakhtin, - rogue, clown, fool, thief. These images are the concrete and individualized images of people, who can characterize the power of transgredience and transition. They commonly act for changing ordinary borders of identities formulated with nationality, property, status, classes, sex and so forth. In this sense, Bakhtin thinks that the masks are the real nature which can show the mutational power of Being. That is the kernel of Bakhtin's people-image that makes and changes every cultural world. When we accept and practise this perspective positively, we will realize that Bakhtin's position is close to the cultural politics, because a practical power of thought cannot help but being political. That's why we have to investigate Bakhtin's people-image from a vantage point of "Transgredience" and "Transition."

• Journal of architectural history
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• v.3 no.1
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• pp.161-172
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• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.347-357
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• 2020

This study intended to examine the nature of image which uses the network as the medium in the context of 'post-internet art' and categorize and analyze the cases of applications within art images. In the post-internet art which embraces the background of Web 2.0 and extended digital and network environment, image is transformed and re-mediated into various formats beyond fixed forms. Hito Steyerl defined the image, copied, downloaded, and reedited digitally in low quality as 'poor image.' Young artists, the digital native generation, capture and re-contextualize the changed network environment and depict it in various images. In this context, the application of image in post-internet art can be categorized and analyzed into the 'Image Collected as Material' produced by collecting and recomposing images found in social media, operating system, and website, 'Image Processed through Work' which is newly processed and re-contextualized by using editing programs, and 'Combined Digital-Reality Image' which represents the section of the digital society as the film and image that combine virtuality and reality.

• International Journal of Computer Science & Network Security
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• v.23 no.3
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• pp.1-9
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• 2023

The practical courses are considered as a model for the courses taught by the student of the Department of Physical Education at different levels of study, during which he employs his mental, physical and skill abilities to understand and master the motor skills and develop his physical abilities to be able to master them and later teach and train them, so this study was conducted with the aim of identifying the perceived mental image For the practical courses of the students of the Department of Physical Education at Umm Al-Qura University, by designing a scale for the perceived mental image of the practical courses, and identifying the percentages and the extent of their prevalence for each of the positive mental image, the nonperceived mental image, and the negative mental image of the practical courses among the students of the Department of Physical Education at Umm Al-Qura University, The researcher used the descriptive approach from the survey studies by designing a measure of the perceived mental image on a sample of (175) students, and they were chosen by the intentional method from the fourth level students who studied all the practical courses in the department, whether for the first or second semester of the academic year 2021 /2022. Data using frequencies, percentages and the test of significance of the ratio, and one of the most important results was the validity of the scale used in measuring the mental image perceived by students of the Department of Physical Education about practical courses. Realizing a positive mental image that is statistically significant about the practical courses of (53.20%) of the students of the Department of Physical Education, the sample of this study. And realizing a positive mental image that is statistically significant for students about the axes of the nature of studying practical courses, their abilities in practical performance, the method of implementing lectures, the lecturer, and their evaluation methods. The mental image of the student, and taking appropriate measures to develop the practical courses and academic programs, applying similar studies to measure the mental image of the department's graduates on the specialized tracks in the Department of Physical Education, reviewing the number of hours for some practical courses so that they are not less than two hours for all practical courses.

• Journal of the Korean Institute of Telematics and Electronics
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• v.17 no.3
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• pp.20-25
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• 1980

A singular value decomposition (SVD) pseudo-inversion method has been applied to the image reconstruction from projections. This approach is relatively unknown and differs from conventionally used reconstructioll methods such as the Foxier convolution and iterative techniques. In this paper, two SVD pseudo-inversion methods have been discussed for the search of optimum reconstruction and restoration, one using truncated inverse filtering, the other scalar Wiener filtering. These methods partly overcome the ill-conditioned nature of restoration problems by trading off between noise and signal quality. To test the SVD pseudo-inversion method, simulations were performed from projection data obtained from a phantom using truncated inversefiltering. The results are presented together with some limitations particular to the applications of the method to the general class of 3-D image reconstruction and restoration.

• Journal of the Korean Home Economics Association
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• v.27 no.2
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• pp.1-19
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• 1989

Dress is an expressive art form which involves a human activity; utilizes techniques under sufficient technical control that results in the production of typical forms on the basis of aesthetic standards. This study was conducted to clarify a relationship of Impressionism and it's image in dress-Bustle style. Artists such as Manet, Renoir, Cezanne, Gogh, Gauguin, and Rodin were reviewed. Impressionism was a method of painting that consists in repoducing an impression exactly as it is experienced from contemplation nature. The Impressionists used a technique of separate, fragmented brush strokes and pure prismatic colore, aiming at rendering changing effects of light. Fashion designers such as Charles Worth, Givency, Cardin, Ungaro, and Lacroix were examined. Throughout their fashions, they focused on the naturalism of feminine and seductive image-the touch of Vegetable Venus depicted on the paintings of Manet and Renoir; expressed "unmitigated sexiness" in various forms of Bustle sytle creating a seductive beauty, revealing body contour, breast and legs, and using a fragmented motif and flowers with vivid color.

• Journal of The Korea Institute of Healthcare Architecture
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• v.12 no.1
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• pp.41-48
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• 2006

The purpose of this study is to find Healing elements in the late work of Frank Lloyd Wright. Healing elements are mainly composed of physical, social and psychological functions, which are clearly reflected in holistic attitude and intuition in his Organic theory of Architecture. Late works of Wright since 1935 show particularly shapes of triangle and circle creating the emotional images associated with Hope and Infinity. His image-oriented design attitude is thought to be strongly related to the pursuit of Utopian ideal which means peaceful condition. He regarded it as the consequence of integrity and control, which could be thought as condition of Healing environment. Refuge and Prospect can be complementary elements of spatial expression representing peaceful and dynamic condition of the Nature itself. Five works selected in this case study have unique design ideas related to the function and image of Healing environment interpreted by the criteria of Refuge and Prospect.

• Journal of Information Technology Applications and Management
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• v.29 no.2
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• pp.1-15
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• 2022

Image has more power in the 21st century than ever before. With the advance in technology and media, image is either made or received more easily and promptly using digital technology. Because of that, it has been hard for digital images to gain value as a work of art. But after NFT technology was developed and then applied to digital images, we have come to distinguish the original from the copy of it. People are trying various ways to allow digital images to be acknowledged as art, and changing the nature of digital images that makes new paradigms in the history of art. Through NFT artworks rising as a new style, this paper analyzed and investigated the new properties and changing characteristics of digital images in order to anticipate the characteristics of artworks that the public produces, enjoys, and consumes. This study is grounded on experimental analysis methods, and this author expects that it can contribute to figuring out which kinds of visual culture and artworks digital image is influencing currently from various perspectives.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.403-408
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• 2023

The widespread discussion of AI-generated content, fueled by the emergence of consumer applications like ChatGPT and Midjourney, has attracted significant attention. Among various AI applications, AI painting has gained popularity due to its mature technology, user-friendly nature, and excellent output quality, resulting in a rapid growth in user numbers. Midjourney and Stable Diffusion are two of the most widely used AI painting tools by users. In this study, the author adopts a perspective that represents the general public and utilizes case studies and comparative analysis to summarize the distinctive features and differences between Midjourney and Stable Diffusion in the context of AI character illustration. The aim is to provide informative material forthose interested in AI painting and lay a solid foundation for further in-depth research on AI-generated content. The research findings indicate that both software can generate excellent character images but with distinct features.