• KIPS Transactions on Software and Data Engineering
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• v.8 no.9
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• pp.379-390
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• 2019

In this paper, we propose a novel deep neural network model for Vision-and-Language Navigation (VLN) named LVLN (Landmark-based VLN). In addition to both visual features extracted from input images and linguistic features extracted from the natural language instructions, this model makes use of information about places and landmark objects detected from images. The model also applies a context-based attention mechanism in order to associate each entity mentioned in the instruction, the corresponding region of interest (ROI) in the image, and the corresponding place and landmark object detected from the image with each other. Moreover, in order to improve the success rate of arriving the target goal, the model adopts a progress monitor module for checking substantial approach to the target goal. Conducting experiments with the Matterport3D simulator and the Room-to-Room (R2R) benchmark dataset, we demonstrate high performance of the proposed model.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• The Transactions of the Korea Information Processing Society
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• v.6 no.2
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• pp.485-496
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• 1999

Comparing with sequential programming, parallel programming has additional complexity due to the consideration of parallelism, communication and synchronization of processes. A synergism between users and compliers should be established, each assisting the other to produce high quality parallel programs. On the above underlying philosophy, we developed a parallel Object-Oriented specification language, POOSL, as preliminary works. However, it is still likely to hard for users to write parallel program because users have to consider grammar of POOSL and to write text-based parallel program. It would be more desirable to provide users wit visual environment for effective parallel programming. Therefore, we propose a visual programming environment. VEPO(Visual environment for Parallel Object-Oriented Programming), based on POOSL in order that users can develop parallel programs more easily and conveniently. It aims at supporting a programming environment in which users can represent their programs more naturally and visually I parallel manner with object-oriented concept and essential steps during parallel program development such as program specification, compilation, execution and animation of execution are integrated. VEPO has useful features for parallel processing. Especially, complicated parallel codes for synchronization and communication of processes are automatically generated in the translation phase, so users can be relieved of writing error-prone parallel codes. The system is targeted to the transputer-based parallel system, MC-3. The graphic user interface of VEPO was implemented using Visual C++. Visual programs descirbed on VEPO are translated into Inmos C and executed on MC-3.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.1-8
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• 2014

The virtual avatar is a principal way as media for communicating language and affective feelings in virtual environment. As similar purpose, this study evaluates user's visual feeling according to the changes of iris color and pupil size of virtual avatar which is considered as new factors for representing realistic avatar. Virtual avatars were configured by pupil accommodation and iris color(green, brown). After presenting above image to 32 participants, a questionnaire(18 items) based on previous studies was created, and reported as a 5-point scale. Experimental result showed that the case of adopting pupil accommodation induced more realistic visual feeling of subjects. This result can be regarded as a basis for designing realistic virtual avatar by confirming the effectiveness of pupil accommodation of avatar in terms of representing visual presence.

• Cartoon and Animation Studies
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• s.32
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• pp.141-158
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• 2013

Comics are a genre that convey meaning through compositional arrangements of dialogue and images as well as through the flow of panels across a page. Communicating that meaning to readers through a combination of language and visual lexicons is the essential process of drawing comics, a process that in itself is significant. The semiotics of comics is a field of scholarship grounded in the broader discipline of semiotic theory in which all the components of comics, both visual and verbal, are the subject of study and research. By adopting a semiotic approach we are able to objectively analyze and understand the symbolic, social and ideological meanings embedded in the signs and sign processes expressed in comics. The fundamental pedagogical mission of teaching comics is to cultivate human nature through the study of theory as well as through the production and completion of original works that explore new modes of expression. To go further, interpreting those embedded meanings in the context of comics fosters effective and creative skills of expression that go beyond a mere fascination for the genre itself. In short, because the semiotic approach to understanding visual communication is the essence teaching comics, we can expect that the act of reading and creating comics plays a significant role in understanding visual communication.

• Journal of Korea Multimedia Society
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• v.24 no.11
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• pp.1580-1587
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• 2021

Currently, the development and sale of various emoticons has given users a wider range of choices, but a systematic and specific approach to the recognition and use of emoticons by actual users is lacking. Therefore, this study tried to investigate the subjective perception and visual attention concentration of actual users on negative emotional expression emoticons through a survey and eye tracking experiment. First, as a result of subjective recognition analysis, it was found that emoticons are frequently used because their appearance is important, and they can express various emotions in a fun and interesting way. In particular, it was found that emoticons that express negative emotions are often used because they can indirectly express negative emotions through various and concretely expressed visual elements. Next, as a result of the eye tracking experiment, it was found that the negative emotional expression emoticons focused on the large elements that visually emphasized or emphasized the emotional expression elements, and it was found that the focus was not only on the facial expression but also on the physical behavioral responses and language of expression of emotions. These results will be used as basic data to understand users' perceptions and utilization of the diversified emoticons. In addition, for the long-term growth and activation of the emoticon industry market in the future, continuous research should be conducted to understand the various emotions of real users and to develop differentiated emoticons that can maximize the empathy effect appropriate to the situation.

• Journal of the Korea Convergence Society
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• v.13 no.1
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• pp.215-228
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• 2022

This paper aims to summarize and analyze the optical illusion designs in magazine advertisements. By giving questionnaires that compare print advertisements using the optical illusion design method and traditional print magazine advertisements without adopting the method, the paper performs a quantitative analysis of technical statistics along with a factor analysis of reliability and exploration using IBM SPSS 27.0. when designing through visual illusion expression methods, you can design from the perspective of visual impact and how the information contained in the product is expressed. While making full use of the characteristics of visual illusion, appropriate use of the combination of visual language and overall structure to maximize the brand The effectiveness of information transmission.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.977-990
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• 2010

Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it.

• Journal of the Korea Convergence Society
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• v.9 no.1
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• pp.485-492
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• 2018

This study would analyze visual components in the best seller cover design in 2017. The visual components were classified through a preliminary review with editorial design experts, and the top 20 best sellers at the Kyobo Book Centre, which recorded the top rank in sales in 2017 were selected as the subjects of the study. The subjects of the survey were 50 graduates from the design-related departments, who could judge the components, and the following results were drawn as an analysis. First, most layouts were a comparison type, and The Temperature of Language took the highest position at 45.5%. Second, in the typography, having a correlation with the section, most were composed of a Serif, and 'Sapiens' took the highest position at 92.5%. Third, the image is concerned with the illustration, in which The Miracles of the Namiya General Store took the highest position at 93.2%. These visual components of the cover design act as an important factor in choosing books for readers who first encounter the books. Thus, it would be necessary to continue to conduct studies of visual components in best sellers, and hopefully, this study would be helpful for the development of the publication market as it is utilized in the marketing field based on these studies.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.