• 복식문화연구
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• 제19권5호
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• pp.993-1008
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• 2011

Traditional culture could be a wonderful source of inspiration for creative design. Tteoksal, the stamps used for making decorative patterns on traditional rice-cakes, have been used and passed on to generations to show the emotions of our ancestors. Numerous traditional patterns found in Tteoksal can be used to better understand and transmit tradition in modern ways. The purpose of this study was to develop fashion cultural products with a modern sensibility by understanding the origin, types and characteristics of Tteoksal and its patterns. The method of this study was through considering the proceeding studies and the references published by a specialist and museums having some information about further knowledge on Tteoksal. In line with the aforementioned study, neckties, eco-friendly bags and pouches were developed as fashion goods. Among the Tteoksal's patterns selected were lotus, bats, 樂 letters and complex patterns. Using a computer graphic software program such as Adobe Illustrator CS5, archetypes of patterns were traced as vector graphics, and two design motives were developed in every pattern. The patterns were developed into two types: one was a basic pattern faithful to a basic motive pattern, and the other was a varied type that was changed and applied. The fashion products were developed as two styles for basic and varied patterns for neckties, eco-friendly bags and pouch items. Twelve products were made for each pattern, which totals 48 unique products. In conclusion, the study could be a critical step to better understand the traditional culture and its influence to the patterns applied to modern fashion design.

• 한국정보통신학회논문지
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• 제11권3호
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• pp.563-569
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• 2007

모바일 통신 서비스의 발전과 반도체 기술의 발달로 모바일 기기에 멀티미디어 서비스와 2D/3D 게임과 같이 고수준의 그래픽 처리를 필요로 하는 콘텐츠가 가능하게 되었다. 모바일 기기는 특성상 더욱 작은 칩 면적과 저전력 소비의 조건이 만족되어야 하며, 본 논문에서는 이러한 모바일 기기에 적용 가능한 2D/3D 벡터 그래픽 처리용 부동소수점 절사형 승산기를 설계한다. 본 논문의 승산기는 기본적으로 radix-4 Booth 인코딩을 적용하고, 면적과 전력소모를 줄이기 위하여 절사방식을 사용한다. 구현된 절사형 승산기는 평균 퍼센트 오차가 0.00003% 정도로 모바일 기기에 충분히 적용가능하다. 승산기는 0.35um CMOS 셀 라이브러리를 이용하여 논리 합성되었고, 그 결과 절사되지 않은 기존의 radix-4 Booth 승산기에 비해 게이트 수가 약 33.8%정도 감소하였다.

• 한국정보과학회논문지:컴퓨팅의 실제 및 레터
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• 제14권1호
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• pp.1-12
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• 2008

본 논문에서는 야외 및 실내에서 촬영된 차량 영상에 대해 실시간으로 차량 색상을 인식할 수 있는 GPU(Graphics Processing Unit) 기반의 알고리즘을 제시한다. 전처리 과정에서는 차량 색상의 표본 영상들로부터 특징벡터를 계산한 뒤, 이들을 색상 별로 조합하여 GPU에서 사용할 참조 텍스쳐(Reference texture)로 저장한다. 차량 영상이 입력되면, 특징벡터를 계산한 뒤 GPU로 전송하고, GPU에서는 참조 텍스쳐 내의 표본 특징리터들과 비교하여 색상 별 유사도를 측정한 뒤 CPU로 전송하여 해당 색상명을 인식한다. 분류의 대상이 되는 색상은 가장 흔히 발견되는 차량 색상들 중에서 선택한 7가지 색상이며, 검정색, 은색, 흰색과 같은 3가지의 무채색과 빨강색, 노랑색, 파랑색, 녹색과 같은 4가지의 유채색으로 구성된다. 차량 영상에 대한 특징벡터는 차량 영상에 대해 HSI(Hue-Saturation-Intensity) 색상모델을 적용하여 색조-채도 조합과 색조-명도 조합으로 색상 히스토램을 구성하고, 이 중의 채도 값에 가중치를 부여함으로써 구성한다. 본 논문에서 제시하는 알고리즘은 다양한 환경에서 촬영된 많은 수의 표본 특징벡터를 사용하고, 색상 별 특성을 뚜렷이 반영하는 특징벡터를 구성하였으며, 적합한 유사도 측정함수(likelihood function)를 적용함으로써, 94.67%에 이르는 색상 인식 성공률을 보였다. 또한, GPU를 이용함으로써 대량의 표본 특징벡터의 집합과 입력 영상에 대한 특징벡터 간의 유사도 측정 및 색상 인식과정을 병렬로 처리하였다. 실험에서는, 색상 별로 1,024장씩, 총 7,168장의 차량 표본 영상을 이용하여 GPU에서 사용하는 참조 텍스쳐를 구성하였다. 특징벡터의 구성에 소요되는 시간은 입력 영상의 크기에 따라 다르지만, 해상도 $150{\times}113$의 입력 영상에 대해 측정한 결과 평균 0.509ms가 소요된다. 계산된 특징벡터를 이용하여 색상 인식의 수행시간을 계산한 결과 평균 2.316ms의 시간이 소요되었고, 이는 같은 알고리즘을 CPU 상에서 수행한 결과에 비해 5.47배 빠른 속도이다. 본 연구에서는 차량만을 대상으로 하여 색상 인식을 실험하였으나, 일반적인 피사체의 색상 인식에 대해서도 제시된 알고리즘을 확장하여 적용할 수 있다.

• 한국식품영양학회지
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• 제15권2호
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• pp.112-118
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• 2002

분열효모 S. pombe의 포자형성은 배지상의 질소원 고갈에 의해 유도되어지며 감수분열로부터 포자형성에 도달하는 과정에는 다수의 특이적인 유전자들이 관여하고 있다. 본 실험에서는 S. pombe genomic library 형질 전환법으로 spo5 유전자를 상보하는 clone을 screening한 후, sport 유전자를 단리하였다$^{8)}$ . 전포자막 구축에 필수적인 sport 유전자를 보유하는 약 5kb의 DNA 단편을 대장균, 효모 shuttle vector pTB248'의 Hind III 부위에 subclonning하였다. 그리고 이 DNA단편으로부터 제한 효소 지도를 작성하여(Fig. 2), spo5 변이체의 상보 능력을 조사하였다 (Fig. 3). 결과에서 서술한 바와 같이 상보능력은 동일하였으며, 이러한 상보성 실험 결과로부터 삽입된 단편상의 유전자 발현은 벡터의 promoter로부터 전사가 일어나는 것이 아니라, 삽입 단편상의 효모 고유의 promoter 에 의해서 전사가 일어나는 것으로 확인되었다. 따라서 clone화 한 DNA 단편 배열상에는 변역영역뿐만 아니라 promoter 영역이 포함된 것으로 판단되었다. 결실변이 도입 해석으로부터, spo5 유전자는 Sma I 부터 Hind m의 3kb 영역에 존재하였고 (Fig. 3), Nor-thern분석에 의해서 spo5 유전자의 전사를 조사한 결과, spo5 -mRNA는 Sma I 부터 Hind III 의 3kb 영 역에서 약2.5kb 크기로 검출되었다. 이 단편의 유전해석으로 부터 약 2.5kb의 전사산물은 최대 800개의 아미노산 잔기를 code하는 단백질로 판단되었다(Fig. 4). 그리고, Northern 분석법에 의해서 spo5 유전자의 전사를 조사한 결과, 서술한 바와 같이, 이 유전자는 질소기아 조건하에서만 유전자가 발현되는 것을 확인하였다(Fig. 4-2.5kb 단편).었다. 그리고 Edman법으로 결정한 PPIase의 39아미노산 잔기가 이 배열내에 완전히 보존되어 있었다. 이 결과로부터 이 ORF는PPIase구조 유전자의 1/3에 해당하는 단편임을 확인하였다. training system to a dangerous work like as "Interruption-free live-line work exchanging COS(Cut-Out-Switch)". In this program, the user works with a instruction on the window and speaker and can't work other tasks until each part of the task completed. The workers using this system can use their hands and viewpoint movement as he is in a real environment but the trainee can't use all parts and senses of a real body with the current VR technology. Despite of this weak point, when we consider the trends of improvement in electrical devices and communication technology, we can say that 3D graphic VR application has a high potentiality.) 야생화 초지(NWP, IWP)는 관행 혼파초지나 하번초 혼파초지에 비하여 동물상이 다양하고 많게 분포되었으며 그중 외국산 야생화초지의 동물 개체수가 가장 많게 나타났다. 이상의 결과를 종합할 때, 야생화 초지는 봄부터 가을까지 야생화가 지속되었고, 양서류 및 곤충의 개체 수가 증가되었던 것으로 보아 야생화 초지의 공익적인 측면에서의 활용 가능성도 클 것으로 기대된다

• 조형예술학연구
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• 제7권
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.