• KSII Transactions on Internet and Information Systems (TIIS)
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• v.18 no.4
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• pp.938-958
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• 2024

Unsupervised Video Object Segmentation (UVOS) is a highly challenging problem in computer vision as the annotation of the target object in the testing video is unknown at all. The main difficulty is to effectively handle the complicated and changeable motion state of the target object and the confusion of similar background objects in video sequence. In this paper, we propose a novel deep Dual-stream Co-enhanced Network (DC-Net) for UVOS via bidirectional motion cues refinement and multi-level feature aggregation, which can fully take advantage of motion cues and effectively integrate different level features to produce high-quality segmentation mask. DC-Net is a dual-stream architecture where the two streams are co-enhanced by each other. One is a motion stream with a Motion-cues Refine Module (MRM), which learns from bidirectional optical flow images and produces fine-grained and complete distinctive motion saliency map, and the other is an appearance stream with a Multi-level Feature Aggregation Module (MFAM) and a Context Attention Module (CAM) which are designed to integrate the different level features effectively. Specifically, the motion saliency map obtained by the motion stream is fused with each stage of the decoder in the appearance stream to improve the segmentation, and in turn the segmentation loss in the appearance stream feeds back into the motion stream to enhance the motion refinement. Experimental results on three datasets (Davis2016, VideoSD, SegTrack-v2) demonstrate that DC-Net has achieved comparable results with some state-of-the-art methods.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.532-539
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• 2010

This paper suggests the system for searching and application is to be in combination between existing hair art area and Image/Video processing area. This proposed system usually saves various hair types into a database, then, users send images of their face over the internet by using WebCam. Finally, they can find the hair types for users.

• Journal of Korea Society of Digital Industry and Information Management
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• v.5 no.4
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• pp.189-197
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• 2009

This paper suggests the system for searching and application is to be in combination between existing hair art area and Image/Video processing area. This proposed system usually saves various hair types into a database, then, users send images of their face over the internet by using WebCam. Finally, they can find the hair types for users. Hair cutting is technology that form draft to make hair style. Man cut must decide how in image of sinciput, image of side bean curd, after lower image must operate. Silhouette is produced as is different by change of this three places. Customer increases in the beauty salon and beauty salon chain being changed, research about beauty art is necessary point of time. In this treatise, our country of when swim and operate haircut about problem that happen sample survey and analysis.

• Korean Journal of Child Studies
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• v.21 no.4
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• pp.275-293
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• 2000

The study examined changes in mothers' perceptions about their families through group art therapy and group psychodrama. The 5 mothers selected as the experimental group were tested by Kinetic Family Drawing. The experimental group then participated in psychodrama This was a pre-test, 2 post-test experimental group only design. Each follow-up test was excused at 10 weeks after the previous test. Mothers' acting in the psychodrama was video-recorded. Subjects were interviewed to ascertain change in daily life after the psychotherapy. Results were that positive changes occurred in mothers regarding self-examination and understanding of their families. There were significant difference in the mothers' perceptions of themselves, their children and their families.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.85-92
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• 2022

Known as "The Ninth Form of Art", video game is a form of hypermedia art rising in response to the rapid development of modern technology, with millions of fans worldwide. From the perspective of the game market, those games that have high stickiness and a long operating cycle usually have abundant doujin works. As a spontaneous behavior of the players, doujin culture reflects the players' feelings towards and perception of the games, and it reacts upon the original game while relying on it, exerting a far-reaching influence on the operation of game products. We try to analyze the influences of doujin culture on game operation performance, hoping to provide game operators with some useful ideas.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.102-109
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• 2013

The purpose of this study is to express imagination which is not limited to the description of the facts and reproduce the photos as a media to explore the new possibilities for creative expression and the experience of the day-to-day operations for the implementation of the scheme of art genre. The art work for this study using digital images in Autodesk Combustion Workspace as the upper and lower layers were synthesized using the Transfer Mode feature. This study proposed a new photomontage production model, and challenged for the Possibility of a variety of visual representations of media art. Especially the production presents in this study can be applied to various video.

• Proceedings of the IEEK Conference
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• 2002.07a
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• pp.670-673
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• 2002

This paper proposes a digital algorithm for gray-scale/color image segmentation of real-time video signals and a cell-network-based implementation architecture in state-of-the-art CMOS technology. Through extrapolation of design and simulation results we predict that about 300$\times$300 pixels can be integrated on a chip at 100nm CMOS technology, realizing very high-speed segmentation at about 1600sec per color image. Consequently real-time color-video segmentation will become possible in near future.

• Proceedings of the IEEK Conference
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• 2005.11a
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• pp.945-948
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• 2005

In wireless and handheld platforms area, performance, power and cost are key metrics for product success. This is driving increasing levels of on-chip integration in state-of-the-art application processors. The purpose of this project is to optimize and design the energy-efficient embedded system that properly displays video and audio in real time. The requirements are for the media player to be capable of decoding real-time streaming video and audio with the least possible energy consumption for a variety of different clips at different resolutions. We implemented this Linux based multimedia player on Intel's PXA27x platform.