• The Journal of Art Theory & Practice
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• no.14
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• pp.187-215
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• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

• Journal of the Korean Institute of Intelligent Systems
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• v.26 no.5
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• pp.375-382
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• 2016

In this paper, we presents a signatures verification by using the nonlinear quantization histogram of polar coordinate based on multi-dimensional adjacent pixel intensity difference. The multi-dimensional adjacent pixel intensity difference is calculated from an intensity difference between a pair of pixels in a horizontal, vertical, diagonal, and opposite diagonal directions centering around the reference pixel. The polar coordinate is converted from the rectangular coordinate by making a pair of horizontal and vertical difference, and diagonal and opposite diagonal difference, respectively. The nonlinear quantization histogram is also calculated from nonuniformly quantizing the polar coordinate value by using the Lloyd algorithm, which is the recursive method. The polar coordinate histogram of 4-directional intensity difference is applied not only for more considering the corelation between pixels but also for reducing the calculation load by decreasing the number of histogram. The nonlinear quantization is also applied not only to still more reflect an attribute of intensity variations between pixels but also to obtain the low level histogram. The proposed method has been applied to verified 90(3 persons * 30 signatures/person) images of 256*256 pixels based on a matching measures of city-block, Euclidean, ordinal value, and normalized cross-correlation coefficient. The experimental results show that the proposed method has a superior to the linear quantization histogram, and Euclidean distance is also the optimal matching measure.

• The Journal of Korean Society for Radiation Therapy
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• v.15 no.1
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• pp.53-60
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• 2003

I. Purpose It is essential to have the correct body contour information for the calculation of dose distribution. The role of CT images in the radiation oncology field has been increased. But there still exists a method to use cast or lead wire for the body contour drawing. This traditional method has drawbacks such as in accurate and time consuming procedure. This study has been designed to overcome this problem. II. Materials and Methods A digital camera is attached to a pole which stands on the opposite side of the gantry. Positional information was acquired from an image of the phantom which is specially designed for this study and located on the isocenter level of the simulator Laser line on the patients skin or on the phantom surface was digitized and reconstructed as the contour. Verification of usefulness this technique has been done with various shape of phantoms and a patients chest III. Results and Conclusions Contours from the traditional method with the cast or lead wire and the digital image method showed good agreement within experimetal error range. This technique showed more efficiente in time and convenience. For irregular shaped contour, like H&N region, special care are needed. The results suggest that more study is needed. To use of the another photogrammatory techinique with two camera system may be better for the actual clinical application

• Journal of Fashion Business
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• v.11 no.6
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• pp.87-100
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• 2007

This study aims at analyzing the characteristics of deconestructionism expressed in Issey Myake's fashion who is one of the most creative designers in the world. Method and contents of this study are as follows. Through the review of literatures, three major categories such as interminacy of meaning, decentring, and intertextuality and eight subcategories have been identified as major features of deconestructionism. These subcategories for content analysis were selected to examine the characteristics of deconstructionism expressed in Issey Myake's design in depth. Interminacy of meaning was divided into unstructured and unconstructed factors while decentring into qualities of cross-gender, subculture, anti-fashion, and post-humanism. Lastly, intertextuality was classified into factors of disordered mixing mode and mixed styles. Materials for analysis were chosen from total 349 designs on the website,www.firstview.com, which carries Issey Miyake's collection from 2002 S/S through 2006 F/W. 2 fashion major analysts including the researcher participated in 1st analysis and two another fashion major analysts participated in 2nd analysis. The final level of consistency between analysts was over 97% for all categories. The data analysis quantitatively evaluates the frequency of each category and qualitatively evaluates the characteristics of design. The result is as follows. First, the avant-garde facets of inter-textuality are most prominent. In particular, Miyake has introduced the various novelly textiles to fashion and employed the mixtured styles, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has used various fabrics in order to inflict shock and contrast but still create subtle harmony, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of Miyake's fashion design. Miyake has employed unconstructed expression techniques, which has projected unusual images free from basic forms of designs and also has used the unstructured styles which dismantle harmony and balance-the common rule of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. He has demonstrated a unique perspective on cloth construction and presented a love for artistic collaboration in the development of his collections A distinct manufactured aesthetic is exaggerated, even hyperbolic. Thirdly, the aspects of decentralization were also shown in Miyake's design, however, it has been visibly decreased after 2002 S/S.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.538-544
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• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• Journal of Technology Innovation
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• v.18 no.1
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• pp.53-74
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• 2010

The creation and acceptance of new technologies has been speeding up dramatically in modern times. There are also significant uncertainties about the future shape of markets, governance and social values that will have an important impact on organizations and their capacity to meet their objectives. These rapid technological and social change and uncertainties make the upsurge of interest in technology foresight, giving rise to its emergence as a global concept and policy tool. A wide range of future methods are available for technology foresight. Selection of methods will depend upon several factors, most notably available and the time financial resources, and the objectives of the exercise. Although Delphi has been widely used for many years, scenario becomes very popular in recent years. The use of scenarios can take better account of the complexity and unpredictability of the economic, social and political environments. Scenarios tell the stories describing paths to different futures, which help organizations make better decisions today. In this study, the scenario method was employed to draw the images of the future of renewable energy. Renewable energy grows dramatically in recent years. However, there is still considerable uncertainty with regard to the potential of renewable energy due to environment regulation, energy costs, and political and economic developments in the main supplier countries for oil and natural gas. Scenario can help us to identify the risks and opportunities when we develop the renewable energy, and to prepare for them. The scenario method is expected to be more utilized in the national technology foresight.

• Journal of Animal Science and Technology
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• v.47 no.5
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• pp.711-720
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• 2005

In the corpus luteum, TNF$\alpha$ is known to induce functional and structural luteolysis. In addition, it acts as luteotropic agent during the initial and early stage of luteal development. In spite of its importance in corpus luteal development, there is still different opinions for the source cells of TNF$\alpha$ in the corpus luteum. One is the macrophages only, and the other is macrophages are the main source and endothelial cells are the minor source. In this experiment, using the porcine corpora lutea of pregnancy and ovulatory stages, hematoxylin-eosin stain, macrophage and TNF$\alpha$ immunohistochemistry were carried to reveal the sources of TNF$\alpha$. As a result, MAC 387-positive macrophages were present in all the stages of corpora lutea. In the mature corpora lutea of nonpregnant stages, the sites of MAC 387-positive macrophages and those of TNF$\alpha$- positive macrophages were coincided, and the sites of endothelial cells and those of TNF$\alpha$-positive endothelial cells were nearly coincided. But, in the mature CL of pregnant stage, mid- and advanced luteolytic stages of both nonpregnant and pregnant stages, the sites of MAC 387-positive macrophages and those of TNF$\alpha$-positive macrophages were coincided, but not in the endothelial cells. Accordingly, it can be concluded that macrophages are the main source of TNF$\alpha$ in the corpus luteum and endothelial cells are the minor source in the mature and mid-lytic stages, but, in the advanced luteolytic stage, macrophages are the only source of TNF$\alpha$.

• Journal of Korean Society for Geospatial Information Science
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• v.22 no.3
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• pp.129-136
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• 2014

This study deals with red tide detection by using the remote sensing imagery from the Geostationary Ocean Color Imager (GOCI), the world's first geostationary orbit satellite, around the southern coast of Korea where the most severe red tide occurred recently. The red tide zone was determined by the available data selection from the GOCI imagery during the period of red tide occurrence and also the severe red tide zone was detected through the spatial analysis by temporal change out of the red tide zone. This study results showed that the coast in the vicinity of the Hansan and Yokji in Tongyeong-si was classified into the severe red tide zone, and that the red tide was likely to spread from the coast of Hansan and Yokji to the one of Sanyang-eub. In addition, the comparative analysis between the area of red tide occurrence, the prevention activities of Gyeongsangnam-do provincial government and the amount of the damage cost over time showed close correlation among them. It is still early to conclude that the study is showing the severe red tide zone and the spread path exactly due to various factors for red tide occurrence and activities. In order to improve the reliability of the results, the more data analysis is required.

• Cartoon and Animation Studies
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• s.41
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• pp.187-222
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• 2015

The quantitave increase and qualitative development in the game industry leads to bitter competition and makes game companies struggle to find better ways promoting their own games. The game trailer is one of the critical ways to publicize diverse games by showing visual images directly. There are three reasons why the game trailer comes into the spotlight these days; the rapid growth of the Internet speed handling the large size of files, the remarkable development of visual image quality just like digital movies, and the advent of video websites such as You Tube that shows huge amount of videos regardless of the type and size. However, there are not enough amount of research on the game trailer because using game trailers as the marketing source is still at an early stage. Therefore, this research focuses on providing characteristics of game trailers that are available for practical market analysis. First, this research shows that game trailers can be divided by the category of display, style, and contents type. Second, this research provides the component parts of game trailers that are divided into contents factors such as characters, backgrounds, events and promotional factors such as title, production company name, distribution company name. Third, this research explores research frames that would be needed to analyze marketing strategies, effects of game trailers, production pipelines and so on. These categorizations would be useful for producing game trailers efficiently and utilizing them effectively.

• Particle and aerosol research
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• v.13 no.4
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• pp.151-158
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• 2017

Electrostatic precipitator is widely used to remove particulate matters in indoor air and industrial flue gas due to low pressure drop and high collection efficiency. However, it has a low collection efficiency for the submicrometer sized particles. Electrospraying is a potential method to increase the particle charging efficiency, which results in increased collection efficiency. Although particle charging efficiency is highly dependent upon droplet size, the effective measuring method of the droplets is still uncertain. Tap water was electrosprayed in this study, and the images of electrosprayed droplets were taken with a high speed camera coupled with several visualization methods in order to measure the droplets size. The droplet size distribution was determined by an image processing with an image-J program. As a result, a droplet measured by a laser visualization, had a half size of that by a Xenon light visualization. In addition, the experimentally measured droplet sizes were a good agreement with the predicted values suggested by $Fern{\acute{a}}ndez$ de la Mora and Loscertales(1994).