• Science of Emotion and Sensibility
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• v.26 no.2
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• pp.103-116
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• 2023

This study aims to investigate the interaction between inward bias and canonical viewpoint, which are factors known to affect preference for meaningful objects. It also considered the familiarity of each entity in terms of their influence on the existence of a canonical viewpoint and demonstrated whether the relative strength of two preferences varies depending on familiarity. To confirm this, we conducted a behavior experiment using a two-alternative forced-choice task. The experimental stimuli were eight single objects for familiarity level (high/low), whereas the entity's inward bias and canonical viewpoint were observed or violated. Results showed that when inward bias was obeyed, the frequency of being chosen as a preferred option was higher, and the reaction time for preference judgment was shorter. However, the observation of a canonical viewpoint did not affect frequency and reaction time. Moreover, familiarity played an interference role in aesthetic judgment. These results indicate that inward bias is stronger than canonical viewpoint, ultimately implying that a single object's interaction with the visual context is superior to the entity's attribute as regards to preference judgment.

• International Journal of Highway Engineering
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• v.7 no.4 s.26
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• pp.151-162
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• 2005

Variable Message Sign (VMS), which provides drivers with direct information about state of traffic congestion and for prevent an accident, is the most effective method among the methods of providing information in Advanced Transportation Management System. Currently establishment and the VMS which is operated foundation lets in Guidelines on the use of Variable message sign (a book of the VMS) of 1999 November the Ministry Construction & Transportation, these contents mean main viewpoint on physical part such as message special quality variable (font, character size and line space, word interval) and position mainly among standard about establishment in general. But, it is true that using without effect verification on the character of VMS display and that using mode of stationary-centered. In this paper, it executed significance test to effort verification on the character of VMS display for more practical and effective information transmission based on the driver viewpoint For the researches; develop 3D-Simulation, select characteristics of driver's visual cognition behavior (the conspicuity, the legibility and the comprehensibility), evaluation each issue (day or night, 80km/h or 100km/h). Especially, that used the Eye Marker Recorder to measure of reading-time (legibility) thus, confirmed objectivity and reduce an observational error. The results showed that the conspicuity is Flashing> Stationary>Scroll. The legibility is not deference that Flashing between stationary form. Also the comprehensibility result showed that Flashing> Stationary>Stroll form.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.40 no.5
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• pp.312-321
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• 2003

In this paper, we implement robot which are ability to recognize obstacles and moving automatically to destination. we present two results in this paper; hardware implementation of image processing board and software implementation of visual feedback algorithm for a self-controlled robot. In the first part, the mobile robot depends on commands from a control board which is doing image processing part. We have studied the self controlled mobile robot system equipped with a CCD camera for a long time. This robot system consists of a image processing board implemented with DSPs, a stepping motor, a CCD camera. We will propose an algorithm in which commands are delivered for the robot to move in the planned path. The distance that the robot is supposed to move is calculated on the basis of the absolute coordinate and the coordinate of the target spot. And the image signal acquired by the CCD camera mounted on the robot is captured at every sampling time in order for the robot to automatically avoid the obstacle and finally to reach the destination. The image processing board consists of DSP (TMS320VC33), ADV611, SAA7111, ADV7l76A, CPLD(EPM7256ATC144), and SRAM memories. In the second part, the visual feedback control has two types of vision algorithms: obstacle avoidance and path planning. The first algorithm is cell, part of the image divided by blob analysis. We will do image preprocessing to improve the input image. This image preprocessing consists of filtering, edge detection, NOR converting, and threshold-ing. This major image processing includes labeling, segmentation, and pixel density calculation. In the second algorithm, after an image frame went through preprocessing (edge detection, converting, thresholding), the histogram is measured vertically (the y-axis direction). Then, the binary histogram of the image shows waveforms with only black and white variations. Here we use the fact that since obstacles appear as sectional diagrams as if they were walls, there is no variation in the histogram. The intensities of the line histogram are measured as vertically at intervals of 20 pixels. So, we can find uniform and nonuniform regions of the waveforms and define the period of uniform waveforms as an obstacle region. We can see that the algorithm is very useful for the robot to move avoiding obstacles.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Cartoon and Animation Studies
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• s.50
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• pp.101-130
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• 2018

Since the advent of the Smart Devices, the smartphone has become a popular tool to view Webtoon. This phenomenon has caused the convergence of cutting-edge technologies and Webtoons in diverse forms, creating unique versions of Webtoons including, but not limited to Smart-toon, Effect-toon, Cut-toon, Dubbing-toon, Moving-toon, AR-toon, VR-toon, and Interaction-toon. By comparison to these rich diversities of Webtoons in the online industry, there is a lack of academic research on this topic. There are some papers which talk about the different types of multimedia technology conversion and its case presentation or the effectiveness and problems of visual effect, but the effects of these convergence technologies on comic readers' concentration and reading effectiveness have never been investigated so far. Therefore, this paper will discuss the unique method of immersive storytelling that is often used in comics and analyze each aspects of immersive method in technology-converged Webtoons along with its problems. Furthermore, this paper will analyze different aspects of "immersion" and interaction elements that can be found in the popular Interaction-toon, (Encountered). Through this, this paper discusses the positive influence of the interaction elements on comic readers' immersion level and its limitation. To classify the technology-converged Webtoons in terms of the immersion level, the Effect-toon sometimes interferes viewer's flow by using excessive use of multimedia effect, creating information overload. The Smart-toon which applied motions to each frame under horizontal mode of smartphones was a good try, but it hindered the readers' activeness and made it hard for the readers to be fully absorbed in the story. The VR-toon, which utilizes virtual reality gadgets to allow viewers to explore the world of Webtoon was also a nice try to overcome the limitation of vertical screens. However, it often caused dispersion of user's attention and reduced the users' immersion level. The Moving-toon which only emphasized the reading convenience also invaded readers' activeness and disturb users' concentration. On the other hand, the cartoonist Il-Kwon Ha applied high technologies such as face recognition technology, augmented reality techniques, 360-degree panorama technology, and haptic technology to his cartoon (Encountered). This allowed the readers to form a sense of closeness towards the cartoon characters which let the readers to identify themselves with the characters and interact with them. By this way, the readers can be fully immersed in the story. However, technology abuse, impractical production and hackneyed storylining often showed later in the story remains as its limitations.

• Cartoon and Animation Studies
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• s.47
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• pp.1-29
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• 2017

360-degree virtual reality has been a technology that has been available for a long time and has been actively promoted worldwide in recent years due to development of devices such as HMD (Head Mounted Display) and development of hardware for controlling and executing images of virtual reality. The production of the 360 degree VR requires a different mode of production than the traditional video production, and the matters to be considered for the user have begun to appear. Since the virtual reality image is aimed at a platform that requires enthusiasm, presence and interaction, it is necessary to have a suitable cinematography. In VR, users can freely enjoy the world created by the director and have the advantage of being able to concentrate on his interests during playing the image. However, the director had to develope and install the device what the observer could concentrate on the narrative progression and images to be delivered. Among the various methods of transmitting images, the director can use the composition of the short. In this paper, we will study how to effectively apply the technique of directing through the composition of this shot to 360 degrees virtual reality. Currently, there are no killer contents that are still dominant in the world, including inside and outside the country. In this situation, the potential of virtual reality is recognized and various images are produced. So the way of production follows the traditional image production method, and the shot composition is the same. However, in the 360 degree virtual reality, the use of the long take or blocking technique of the conventional third person view point is used as the main production configuration, and the limit of the short configuration is felt. In addition, while the viewer can interactively view the 360-degree screen using the HMD tracking, the configuration of the shot and the connection of the shot are absolutely dependent on the director like the existing cinematography. In this study, I tried to study whether the viewer can freely change the cinematography such as the composition of the shot at a user's desired time using the feature of interaction of the VR image. To do this, 3D animation was created using a game tool called Unreal Engine to construct an interactive image. Using visual scripting of Unreal Engine called blueprint, we create a device that distinguishes the true and false condition of a condition with a trigger node, which makes a variety of shorts. Through this, various direction techniques are developed and related research is expected, and it is expected to help the development of 360 degree VR image.

• Journal of Yeungnam Medical Science
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• v.17 no.1
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• pp.55-65
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• 2000

Purpose: To compare the efficacy, predictability, stability and safety of excimer laser photorefracive keratectomy(PRK) for myopia and photoastigmatic refractive keratectomy(PARK) for compound myopic astigmatism. Methods: Two-hundred and three eyes(l18 eyes < -7D spherical equivalent, 85 eyes ${\geq}$ -7D spherical equivalent) received excimer laser correction for compound myopic astigmatism and 152 eyes(116 eyes < -7D, 36 eyes ${\geq}$ -7D) for simple myopia. A VISX 20/20B $VisionKey^{TM}$ excimer laser was used to perform either PARK or PRK. Visual acuity with and without correction, refraction, IOP, corneal haze, and topography were evaluated at 1, 3, 6, and 12 months postoperatively. All patients were followed up for more than 12 months. Results: Postoperative refraction were generally stable after 3 months without significant early overcorrection. At 12 months, 110(94.8%) eyes that underwent PRK and 104(88.1%) eyes that underwent PARK achieved UCVA of 20/30 or better in the group who had lower than -7D correction. For eyes treated with -7D or more, these figures were 31(86.1%) eyes after PRK and 57(67.1%) eyes after PARK. The incidences of within 1D of plano refraction at 1 year follow-up were 97.4% after PRK and 93.2% after PARK in the group who had lower than -7D correction. For eyes treated with -7D or more, these figures were 80.6% after PRK and 70.6% after PARK. Conclusions Myopia with or without astigmatism was successfully treated in most of the eyes using PRK or PARK with VISX 20/20B $VisionKey^{TM}$ excimer laser. The predictability and stability of the postoperative refraction during the first 12 months seem to be quite reliable. Further improvement of excimer laser system and software should increase the clinical outcomes and safety of refractive procedures.

• The korean journal of orthodontics
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• v.36 no.3 s.116
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• pp.188-197
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• 2006

Fiber reinforced composite (FRC) is usually used as a connector joining a few teeth into one unit in orthodontics. However, fracture often occurs during the two to three years of the orthodontic treatment period due to repeated occlusal loading or water sorption in the oral environment. We simulated the repair by overlapping and attaching portions of two FRC strips in the middle and performed a three-point bending test to investigate the changes of the repair strength among the different FRC groups. The specimens were grouped according to the overlapping lengths of the two FRC strips, which were 1, 2, 3 and 4 mm (group E1, E2, E3 and E4, respectively) and the control group consisted of unrepaired, intact FRC strips. Each group consisted of 6 specimens and were cured with a light emitting diode curing unit. Group E4 showed the highest maximum loads of 2.67 N, then the control group (2.39 N), group E3 (2.35 N), E2 (2.10 N), and E1 (1.75 N) in decreasing order. Group E4 also showed the highest stiffness, which was 2.32 N/mm, however, the stiffness of group E3 (2.06N/mm) was higher than that of the control group (1.88 N/mm). According to the visual examination, the specimens tended to be bent rather than being fractured into two pieces with an increased length of overlapping portions. The above results suggest that a minimum overlapping length of 3 mm was necessary to obtain an adequate repair of a 10 mm length of FRC connector. In addition, the critical section adjacent to the joint area, where the thickness decreased abruptly, should be reinforced with flowable resin to minimize the bending tendency.