• Journal of Science of Art and Design
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• v.12
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.221-231
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• 2007

In the modern society of the 21st century where the visuality is emphasized, the illustration which expresses one symbol by embodying it is getting more spotlight than the use of character. Specifically, the fashion illustration serves the role of image promotion in other fields, for such as book, magazine, etc, as well as the fashion, and is taking root in daily lives. In response to that, this study researched on the fusion style fashion and the fashion illustration by using the violet color. The violet color which symbolizes the mysticism is being applied to society and culture in various forms, and has been considered as a precious color that represents god since ancient time, and still possesses its mysterious image even in the modern times. Moreover, as the appearance of fusion styled clothes which consolidates the latest trend image of the west and east is combined with the mysterious image of the purple to express new cultural image beyond highlighting specific image element of a country, the study on the fashion illustration based on the clothes based on the purple and fusion style would be very interesting. This study tried to produce the work that aims at the practical study based on the purple & fusion style and the theoretical consideration of fashion illustration through the analysis and investigative study of preceding studies. The findings from the study is like this: First, the violet the color, which represents the mysticism, can be confirmed to be an sophisticated, elegant and attractive image color that leads the modern fashion. Second, the fusion style which is coming into the spotlight recently can be found to have a great visual effect of consolidating the image of the west and east through the mixture with the purple color. Third, it was confirmed in our production of works that the fashion illustration was expressing a mysterious and new fusion style by blending appropriately with the purple color.

• Culinary science and hospitality research
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• v.10 no.3
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• pp.51-64
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• 2004

This study was designed to examine the educational conditions of a foodstylist and student satisfaction with the training. It looked at the educational conditions of the food-stylist department, one of relatively newly-emerging departments, and examined student satisfaction by each factor in order to have specific problem in the educational conditions. The purpose of this study was to maintain higher student satisfaction and to have competitive advantage over the other related departments. For the general information of respondents, most respondents said the monthly average income to be approximately 1.5 times higher than that of common workers in the country, showing that the food-stylist department is preferred by the class with economic ability. For admission motives, respondents used the information via mass communication when they choose it For general educational conditions, students have most satisfaction with the originality of department, at the score of 3.79, following by laboratory and vision in the order. The least satisfaction was in career guidance, reflecting that they have vague ideas where to work. For the theoretical course of study, it was found that ‘Introduction to Table Coordination’ had the highest satisfaction, 3.82, following by ‘Coloring’ and ‘Understanding on Oriental and Occidental Tablewares’ in the order. ‘Food and Beverage Service’ and ‘Public Health’ were found to have the least satisfaction, showing that those subjects do not cause any interest in terms of their property. For the satisfaction of practical training course, it was found ‘Cocktail Practices’, ‘Bakery and Confectionary Practices’, and ‘Understanding of Wines’ in the order, showing that practical subjects with high visuality have higher satisfaction. Further studies are necessary to examine the satisfaction with subjects from various classes, together with many course of study, and to develop statistical data that help us understand the needs of students more correctly for application.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• Journal of Digital Contents Society
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• v.15 no.6
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• pp.737-743
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• 2014

For single image super resolution (SR), interpolation based and example based algorithms are extensively used. The interpolation algorithms have the strength of theoretical simplicity. However, those algorithms are tending to produce high resolution images with jagged edges, because they are not able to use more priori information. Example based algorithms have been studied in the past few years. For example based SR, the nearest neighbor based algorithms are extensively considered. Among them, neighbor embedding (NE) has been inspired by manifold learning method, particularly locally linear embedding. However, the sizes of local training sets are always too small. So, NE algorithm is weak in the performance of the visuality and quantitative measure by the poor generalization of nearest neighbor estimation. An improved NE algorithm with Support Vector Regression (SVR) was proposed to solve this problem. Given a low resolution image, the pixel values in its high resolution version are estimated by the improved NE. Comparing with bicubic and NE, the improvements of 1.25 dB and 2.33 dB are achieved in PSNR. Experimental results show that proposed method is quantitatively and visually more effective than prior works using bicubic interpolation and NE.

• Journal of architectural history
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• v.20 no.1
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• Journal of Korea Multimedia Society
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• v.12 no.8
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• pp.1055-1065
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• 2009

High-dynamic-range (HDR) rendering technology changes the range from the broad dynamic range (up to 9 log units) of a luminance, in a real-world scene, to the 8-bit dynamic range which is the common output of a display's dynamic range. One of the techniques, iCAM06 has a superior capacity for making HDR images. iCAM06 is capable of making color appearance predictions of HDR images based on CIECAM02 and incorporating spatial process models in the human visual system (HVS) for contrast enhancement. However there are several problems in the iCAM06, including obscure user controllable factors to be decided. These factors have a serious effect on the output image but users get into difficulty in that they can't find an adequate solution on how to adjust. So a suggested model gives a quantitative formulation for user controllable factors of iCAM06 to find suitable values which corresponds with different viewing conditions, and improves subjective visuality of displayed images for varying illuminations.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.355-360
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• 2021

In this study, the factors of confirmation bias that may occur in the initial user experience stage were analyzed using a honeycomb model by deriving user experience factors for each factor. In the initial user experience stage, confirmation bias occurs in the impression stage. At the processing stage of memory, sensory memory, working memory, and long-term memory, which stores and retrieves selective memory, were closely related. Confirmation bias was classified into visibility, correlation, memory, clarity, and universality in the usability part, and satisfaction, joy, and dissatisfaction were derived as emotional factors. As a result of the analysis with the honeycomb model, visuality, clarity, universality in the usability factor, and joy in the emotional factor had little effect on the confirmation bias, and satisfaction and dissatisfaction were analyzed as the main factors of the confirmation bias in the correlation, memory and emotional factors. This study is meaningful in that it can be usefully used as a reference material for companies that customize design patterns for the factor of confirmation bias.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.6
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• pp.39-47
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• 2020

This paper interprets the social and cultural significance of the "landscape" in North Korea by exploring the object and context of the text referring to the "landscape" in North Korean literature. To this end, the paper first classified the objects describing "landscapes" in serial publications and newspaper articles by types and grouped them according to trend. As a result, the social and cultural significance of the "landscape" in North Korea can be divided among "Projection Object of Orthodoxy", "Visuality extended to the City" and "Visible Socialist-Fairyland". First, in an article about Baekdusan (Mt. Baekdu), "landscape" was used as a medium to prove the legitimacy of the successor. Next, in the Kim Jong-Un regime, "landscape" was used as a word to describe the visual interactions by human economic activities. Finally, as a way to visualize the achievements in the landscape sector, a term for ranking landscapes such as "Socialist-Fairyland" was adopted during Kim Jong-Un's reign. This can be interpreted as one of the devices visualizing the "landscape" and is clearly distinguished from the past.