Earticle

미디어아트 제작방식중 하나인 미디어 파사드는 화려한 이미지와 색상, 영상표현 기법으로 관람객의 시각적 몰입을 강화하고 호응을 이끈다. 하지만 시각적 이미지 표현에만 집중하는 경우, 제작자가 의도한 메시지나 의미가 관람객에게 전달되기 어려울 수 있으며, 미디어파사드 의 기대효과도 낮아지는 한계점이 있다. 본 연구는 미디어파사드 콘텐츠인 <보물선을 깨우다, 아시아 해양실크로드> 제작 및 전시사례를 통해 전시구성, 서사구조, 시청각적 요소를 분석하 였으며, 이미지 재현과 스토리텔링을 연구하였다. 이를 통해 미디어파사드를 효과적으로 전시 하기 위해서는 선형적 이미지 제시가 아닌 서사구조의 시각이미지가 필요하며, 연속성과 반복 성이 수반되어야 한다는 점, 또 은유와 상징으로 스토리를 재구성하는 방식이 필요하다는 것을 확인하였다. 향후 이러한 개발방향을 고려한 미디어파사드는 관람객에게 더욱 풍부한 문화 향유 기회를 제공하고 제작자가 의도한 메시지와 의미를 더욱 효과적으로 전달할 수 있을 것이다.

Media facade, one of the media art production methods, strengthens the visual immersion of visitors and leads to a positive response through colorful images, colors, and video expression techniques. However, if the producer only focuses on visual image expression, it may be difficult for the originally intended message or meaning to be conveyed to the audience, and the expected effect may be lowered. This study analyzed the exhibition composition, narrative structure, and audiovisual elements through the production and exhibition cases of the media facade content, <Awakening the Treasure Ship, Asia Maritime Silk Road>, and studied image reproduction and storytelling. Through this, it was confirmed that in order to effectively display a media facade, a visual image with a narrative structure is needed rather than a linear image presentation, that continuity and repetition must be accompanied, and that it is necessary to reconstruct the story with metaphors and symbols. In the future, media facades that consider these methods will be able to provide visitors with more opportunities to enjoy culture and effectively convey the message intended by the creator.

우리는 사회적으로 권위 있게 여겨져 왔거나 숭배의 대상이 되어왔던 작품들이나 너무나 쉽게 접하면서 세뇌되는 대중문화 속 이미지들을 우리는 무비판적으로 받아들이고 있는 현실을 깨닫게 하려는 작가의 의도를 읽을 수 있어야 한다. 패러디, 패스티쉬는 회화, 시각예술에 있어서 대중의 다양한 문화적 콘텐츠의 요구를 해결하기 위한 표현수단으로서 각광받고 있으며, 광고에 있어서는 내용은 익숙하되 표현에서 새롭게 보여 지기 때문에 보다 적극적으로 받아들여 질 수 있을 것이다. 과거의 이미지를 사용하여 모더니즘 미술이 단절시켰던 역사성을 회복하였고, 대중문화 속에 유통되는 이미지를 이용함으로 예술과 삶을 결합할 수 있다. 또한 패러디와 패스티쉬는 과거문화와 현재의 문화를 모두 활성화시키는 역할을 하며, 다원성을 지향하는 사회적 요구에 적절하다. 패러디와 패스티시는 기본의 것에 담겨지는 사고의 변화를 새로움의 일환으로 제시함으로써 하나의 이미지가 기존의 한계를 벗고 새롭게 거듭날 수 있는 가능성을 보여준다. 그러므로, 기존 작품들을 이루는 기준을 깨고 새로움에 대한 의미를 확장 수많은 복제물들과 작품 가치를 가늠할 수 있는 명확한 기준이 없는 이 시대의 미술이 당면한 현실에 대해 하나의 대안으로써 기능한다고 하겠다.

They insist that there is no more new stuff in modern art to change every circumstance rapidly. According to this situation, they recreate the works which are made with the existed idea or materials, and also transform creative concept which cites the existing functions with modern meaning. Furthermore they can look into any data everywhere from their daily routine using the internet. And thismust become one of the general forms which they imitate others` works which are referred or chosen in modern art. These social complextion is called a parody and pastich is technique of the Post Modernism which is the existence of past. Using the new construction, the parody and pastich which can accomplish some better value and bring other meanings makes original recreation with the concept of copying and repeating. It keeps changing and is shaping up to be different aspect so far. Every field has a little different term using its own expression but it keeps empathizing each other a same essential meaning. Although it is like universal mode of expression, It is fact that the public cannot distinguish what is creation, imitation, or piracy. This thesis shows the concept of it and files for terms which is using like that. At last it selects some artist who worked with parody and pastich analyses and compares them and their works.

현대미술에서의 알레고리에 대한 개념은 포스트모더니즘 미술의 다양한 양상에 대한 본질적 인 표현충동과 연관되어 정의되고 있다. 특히 폴 드 만은 알레고리를 언어의 해체적 특성과 관련하여 접근함으로써 모더니즘 이후의 다원적인 포스트모니즘의 양상을 현대 알레고리의 해체적 특성으로 규정하고 알레고리 담론을 태동시키고 있다. 이를 배경으로 크랙 오웬스는 알레고리를 본질적으로 복합적이고 다양한 양상(polyvalent)을 지닌 포스트모더니즘의 예술적 특징들과 관련짓고, 알레고리를 ‘예술적 기법이자 예술적 태도이며 예술적 과정이자 예술적 지각활동이다.’라고 정의하고 있다. 이와 관련하여 그는 포스트모더니즘에 나타나는 알레고리 적 특징을 시간의 일시성, 차용성, 장소성, 혼성 교배성으로 규정하고 있다. 본 논문에서는 이 러한 알레고리의 개념을 이론적으로 살펴보고 연구자의 작품에서 연관되는 알레고리적 특징 을 고찰해보는 것이다.

A concept for the Allegory in the Contemporary Art is defined to be related to the instinct desire of expression regarding to the verious aspect of Postmodernism Art. Especially, according to Paul de Man, a Allegory is a sort of contemporary debate derived of defining that a Allegory in contemporay art is related to the deconstruction character which is one of the aspect of Postmodernism art. Also related to this, for Creg Owens, the Allegory is related to the aesthetic character and defined to “the aesthitic attitude, aesthitic method, and the aesthitic acting”. And he finally, defines that the character of Allegory is a temporality, borrowing, site, a mixed and polyvalent, ect. In the thesis, it first, reviews the concept and define of the allegory in the theory, and studies the related character seeking in the own painting according to the character on it.

The convex printing plate in particular securities is classified three physical properties. The main ingredient(component)of photosensitive plastic is composed of thermosetting polyamide. After being hardened specimen at 80℃ is shown to resist highly, the Glass Transition Temperatures of photosensitive plastic are 85℃. When hardened plate has reached at 80℃, abrasion loss is minimized. the cause is considered it is more effective in hardening when the temperature of photosensitive plastic is 80℃-the vitrification temperature of those. The hardness and the durability of the convex printing plate in particular securities are affected to the hardening treatment temperature. And the resolution of original drawing has being better when the durability is superior.

The propose of this study investigated the reproduction of color image on a CRT monitor, for a range of different values of monitor gamma. We have used the GOG(gain-offset-gamma) model of the behavior of CRT. Color difference have been computed in a color space, based on the CIELAB color appearance model. The 133 patch defined linearly color sample and 24 patch defined printing color target were used, and were subjected to the influence of nine different gamma value. The result shows that netural color is increasing the decrease range of luminance black color than white color. These results concern correct in the context display of color reproduction.

The practical lith developer is a hydroquinone solution of moderate alkalinity and low free-sulfite ion concentration with potassium bromide as the restraining agent. In the study on composition of ilth developer to promote high sensitivity, high contrast and long term preservation or use, a new composition of lith developer, namely PK lith developer, was developed and of was found that PK lith developer was superior to the lith developer which was commercially available in terms of contrast, speed and preservation. This paper also describes studies on the addition of hdydrazine to PK lith developer, which have led to further improvements in the system.

Litho printing ink vehicles based on rosin modified phenolic are faster drying, have better durability, are harder and glosser and have greater resistance to water than ones based on ester gums. Ink-Water balance and rheological properties are important in litho printing process. These physical properties is concerned with molecular weight of Resin to use vehicle. So this paper was studied about the effects of changing molecular weight of Rosin modified phenolic on surface tension, viscosity, pseudoplasticity and printablility of Litho Inks. The results were as follows. 1) The surface tension of model inks depended on the molecular weight of the resin : Dispersion componnent of ink increase but non dispersion component decrease as molecular weight of Resin increase. 2) Water pick-up of litho ink is more fast balance, using low molecular weight of Resin. 3) Viscosity, Yield value and Newtonian value of model inks increase as molecular weight of Resin increase. 4) The litho ink prepared with the modified phenolic of which molecular weight is about 20000 showed the highest printing density and gloss.

이 연구는 국내 개그 유튜브 채널에서 북한을 소재로 하는 콘텐츠를 분석하 여 개그 유튜브에서 재생산되는 북한이미지를 확인하고자 하였다. 이를 위해 북한을 소재로 다룬 대표적인 개그 유튜브 채널 ‘피식대학’과 ‘고농축’의 콘텐츠를 분석하였다. 두 콘텐츠에서는 북한어의 의도적 왜곡과 언어유희를 통해 의도적 으로 오역하거나 문법의 과잉적용을 통해 웃음을 유발시키려는 특징이 나타났 다. 콘텐츠에서 나타나는 맹목적인 자본주의 추종은 탈북민들이 자신의 사상에 대해 의심받지 않고 정체성을 인정받을 수 있는 행위임과 동시에 북한을 열등 한 존재로 전락시키는 장치로 활용된다. 또한 소음검열의 편집방식은 개그소재 로 부적합하고 위반 대상이 된다는 것을 인지하면서도 의도적으로 사용한다. 이 러한 자체검열을 통해 국가보안법의 작동을 우회하여 암시하면서 작동체계에 균열을 낸다. 이러한 특성들은 남한 체제 기준에서 북한이 우리와 다르게 나타나는 부분들 에 주목한다. 북한의 호전적 태도에 따른 불감증은 ‘핵’, ‘수령님’과 같은 엄중 하고 공적인 의제의 희화화로 발현되었으며, 탈북민의 재현에서는 자신이 살아 오던 체제를 부정하고 ‘우월한 체제’ 편입을 위해 맹목적으로 추종하는 모순적 행동을 희화화하는 모습으로 나타난다. 또한 오랜 시간 사회주의체제 학습에서 비롯된 사고와 행동이 의외성을 통해 습관적으로 발현되며 웃음을 유발시킨다. 이와 동시에 국가보안법에 저촉되는 사고와 행위임을 암시하며 ‘남한화’가 덜 된 미숙한 인물로 재현한다. 반면 유튜브라는 새로운 플랫폼에서 북한 관련 개그 콘텐츠는 ASMR, 먹방, Vlog, 밈 형식과의 결합으로 소재의 다양성과 미시적 재현이 가능해졌지만, 내 용적 측면에서는 인권유린, 핵 실험, 위협적 비난 등과 같이 계속되는 북한당국 의 비이성적인 사고와 행위는 계속해서 희화화의 대상이 되고 있다.

This study attempted to confirm the North Korean image reproduced on Gag YouTube by analyzing the contents based on North Korea on domestic Gag YouTube channels. To this end, the contents on the representative gag YouTube channels ‘Giggling University’ and ‘High Concentration’ dealing with North Korea are analyzed. The characteristics of North Korea’s reproduction in the contents on the two channels can be summarized as: first, intentional distortion of the North Korean language and language play; second, criticism and satire of human rights abuses and belligerent attitudes; third, blindly following capitalism to be recognized; fourth, cracks in the National Security Law’s operating system. In the intentional distortion and language play of the North Korean language, there was a characteristic of intentionally misinterpreting or inducing laughter through excessive application of grammar. The blind pursuit of capitalism in contents is an act that can be recognized for one’s identity without being questioned about one’s ideas, and at the same time, is used as a device to degenerate North Korea into an inferior being. In addition, the editing method of noise censorship cracks the operating system by intentionally using it, self-censoring, and indirectly suggesting that the National Security Law is in operation, while recognizing that it is inappropriate and subject to violation.

To achieve the color consistent reproduction of multispectral images in the different viewing condition, a new method of multispectral image reproduction via color appearance mapping was proposed. Firstly, through the introduction of color appearance transformation, the color appearance description of the source spectral reflectance in the source viewing condition was obtained. Then by the construction of the inverse model, the high dimension spectra in the destination viewing condition were evaluated, which was color appearance matching but spectral mismatching with the source image. Finally, to improve the spectral precision of the reproduced spectra, the evaluated spectra were corrected by the method of metamerism correction based on the source spectra, and then the reproduced spectral image was obtained, which matched the source image in color appearance and in spectra when the reproduction viewing condition was different from the source. Experiments show that the perceptual color difference and the spectral error between the reproduced multi-spectral image and its original in the different viewing condition are small. The new method preserves the spectral information of the source multispectral image and achieves equal perceptual reproduction to the source image.

예술에서 기술의 발달은 이미지의 재현을 쉽고 빠르게 그리고 편리하게 표현하도록 만들었다. 또한 사진과 영상처럼 예술 장르의 범위를 넓히는데도 도움을 주었다. 가령, 공간 속 풍경의 재현에서 인류는 뉴미디어를 활용해 이전보다 진화된 형태의 표현을 시도하고 있다. 따라서 영상 기반 미디어 아트에서는 현실과 다름없는 실제적인 표현이 보다 수월해졌다. 뉴미디어의 멀티미디어적 요소는 감상자의 예술 작품 관람 시 단방향에서 양방향 인터랙션으로의 구현을 가능하게 했다. 이처럼 영상 기반 미디어 아트는 기술의 발전으로 보다 효율적인 표현 도구로 대두된 미디어를 활용하기 위해 다양한 시도를 필요로 하고 있다. 본 논문은 예술에서 활용되는 기술 미디어와 감상자간의 소통의 방법에 대한 연구로서 영상의 서사 구조와 공간의 구성을 통한 유기적인 인터랙션의 구현을 모색했다. 이를 위하여 본 연구는 영상기반 미디어 아트에서 구성되는 공간과 서사적 구조, 그리고 인터랙션의 작용 과정을 분석하고 사례로서 물리적 공간 내의 정서적 풍경을 재현한 작품, “우발적 풍경”을 제시했다. 연구를 위해 풍경 중심의 사상적 공간 개념 그리고 공간 재현에서 미디어의 변화에 따른 표현에 관한 선행 연구를 사례 중심으로 조사했으며 작품과 감상자간의 인터랙션의 분류를 통해 공간 속 풍경을 보다 효과적으로 표현하기 위한 방법을 탐색했다. 도출된 연구 결과를 바탕으로 영상기반 미디어 아트를 구성하는 공간과 서사구조, 인터랙션를 작품이 의도하고자 하는 바에 따라 적절하게 활용하고자 했으며 작품 “우발적 풍경”을 제작해 공간 속 풍경을 표현했다. 작품 “우발적 풍경”은 복잡화된 현대 사회에서 자신의 정서마저 억압하는 상황을 고찰하여 만든 작품이다. 표현하고자 한 정서의 풍경을 비물질적 영상 미디어로 표현했고, 이를 물리적 공간에 설치하여 각각 진행되는 정서적 풍경을 인터랙션으로 통합하여 감상자와의 감성적 공유를 이끌어 내고자 했다.

Technology enabled art to quickly and conveniently express the recreation of images, and expanded the scope of arts to videos and other spheres. for example, in recreating the scenery within space, humanity is attempting more evolved form of expression using new media, and in video-based media art, it is now possible to make realistic expression that is ever close to reality itself. In addition, the multimedia-oriented elements of new media allowed the artist to create two-way interaction, as opposed to one-way interaction in which the audience merely viewed the art. As such, the development of technology necessitates the artists to utilize media as a more effective expressive tool in the field of video-based media art. The current paper seeks this end; in order to write about the attempt to recreate scenery in space in video-based media art, this paper uses an example of the work “Accidental Scenery” which takes an organic approach to the structure of video contents, audiovisual expression, and interaction in narrative structure of video works. “Accidental Scenery” is a video-based interactive media artwork: its goal is to generate a two-way emotional communion between the artist and the audience through interaction, in which the scenery in space from the artist’s perspective is realized in an exhibition space populated by the audience. This paper utilizes my work as a case study of narrative spatial expression.

The infringement of the copyright is a problem by the distribution of digital contents copied illegally. The digital watermark is expected as a thing preventing unjust copying by burying information in digital data such as image, animation, the sound, TV, radio and movies. [1] [2]But a noise is included in a digital watermark reproduction image. So there is the case that the certification of the reproduction image has difficulty with. If a computer cannot recognize the information reproduced from digital watermarking, the information does not have a meaning. This paper aimed at improvement of the proof of a digital-watermarking reproduction image. And it is verified whether the difference of the form of a character affects the degree of correlation.

The skin color of a human being is the important memory color influencing image quality for color display. Therefore, in this paper, the preferred skin color axis is defined on HSV color space by analyzing some previous research, and the preferred skin color reproduction algorithm is performed by rotating the center axis of skin distribution of an input image to the preferred skin color axis.

A high dynamic range (HDR) image can represent real world scenes that have a wide range of luminance intensity. However, compared with the range of real world luminance, conventional display devices have a low dynamic range (LDR). To display HDR images onto conventional displayable devices such as monitors and printers, we propose the logarithmic based global reproduction algorithm that considers the features of the image using reproduction parameters. Based on the characteristics of the image, we first modify the input luminance values for reproducing perceptually tuned images and then obtain the displayable output values directly. The experimental results show that the proposed algorithm achieves good subjective results while preserving details of the image; furthermore, the proposed algorithm has a fast, simple and practical structure for implementation.

의료 분야에서는 인공지능의 영상처리기술을 바탕으로 의료 영상 데이터를 활용한 연구가 활발히 이루어지고 있다. 하지만 인공지능을 활용한 의료 분야 연구는 의료데이터를 획득하는 것에 큰 어려움이 따른다. 의료 데이터를 사용하여 연구를 진행하기 위해서는 IRB(Institutional Review Board)를 비롯한 많은 법적 절차를 거쳐야 하며, 의료인의 데이터 검증 절차를 거쳐야 한다. 이는 연구를 진행하는 것에 있어 많은 시간적, 경제적 손실을 발생시킨다. 따라서 이러한 문제점을 해결하고자 본 논문에서는 의료영상 데이터 중 안저 이미지를 재생성하는 연구를 진행하였다. 본 연구에서 사용한 데이터는 안저 이미지이며, 정상, 녹내장, 당뇨성 망막병증, 연령관련 황반변성으로 구성하였다. 딥러닝 네트워크인 U-Net을 사용하여 안저 이미지를 재생성하였으며, 재생성된 데이터는 이미지 유사도 평가 및 의료인을 통해 검증하였다. 재생성 결과 원본 데이터와 시각적으로 유사한 데이터를 생성하였다. 또한 의료인의 검증 결과 재생성된 데이터에 대해 20~30%는 찾아내지 못할 정도로 재생성 모델의 성능은 뛰어났다. 향후 연구로는 전이 학습을 통해 재생성 모델을 개선할 것이다. 또한 재생성 데이터의 악용을 방지하기 위해 재생성 데이터 검출 모델을 연구할 계획이다.

In the medical field, research using medical image data is being actively conducted based on artificial intelligence image processing technology. However, research in the medical field using artificial intelligence has great difficulties in obtaining medical data. In order to conduct research using medical data, it must go through many legal procedures, including IRB(Institutional Review Board), and must go through data verification procedures by medical personnel. This causes a lot of time and economic losses in conducting research. Therefore, in order to solve this problem, this paper conducted a study to reproduce the fundus image among medical image data. The data used in this study were fundus images, consisting of normal, glaucoma, diabetic retinopathy, and age-related macular degeneration. The fundus image was reproduced using U-Net, a deep learning network, and the reproduced data was verified through image similarity evaluation and medical personnel. As a result of reproduction, data that is visually similar to the original data were reproduce. In addition, the performance of the reproduction model was so higher that 20 to 30% of the reproduced data could not be found as a result of medical personnel's verification. Future research will improve the reproduction model through transfer learning. In addition, we plan to study a reproductive data detection model to prevent abuse of reproductive data.

A movie <Shakespeare in love> which brought its material from a historical character or incidents in the past was produced by a story suggestion through a historical fact. It is because Shakespeare created a story based on a mythical element related with his life in the plot which was written from the script of the play <Romeo and Juliet> and was on the show in the cinemas of London. It is an obvious fact that the historical drama of this movie was intentionally modified and the fictional story was added to episodes in order to create a dramatic effect. However, reflecting historical backgrounds and cultural aspects accurately through a historical study would also be an important factor. Therefore, the backgrounds and aspects presented in this movie are a kind of storytelling which was reconstructed as if a historian added his opinion to historical facts like a discourse. A historical background in <Shakespeare in love> was a story about Shakespeare who worked at the theater in London as a writer in 1593 the period of England Reneissance. The movie included the working and playwriting of Shakespeare who is a main character. This indicated not only the environment of the theater and literature during the reign of Queen Elizabeth I but also historical aspect in the early modern industrial society in England. This movie, that is, described that time as a recreation such as a cultural acceptance and an achievement of an initial capitalism in Renaissance in the life of characters. In particular, the factor of theaters flourishing during the Renaissance was because a newly emerging class, bourgeoisie, who held the capital emerging from a policy for middle class led to a box office hit through founding theaters and drama company and selling tickets and performing plays by themselves. Like this, the movie <Shakespeare in love> depicted the time led by plays to a industrialization. Moreover, Social aspects in the late 1500s were revealed in this movie through a depiction of the cinemas and the city of London. The depiction of the city of London reflected a social situation of an initial capitalism rapidly developed in trade and commerce. The social aspects such as conflicts between social classes based on getting richer and poorer, mammonism, a corrupted love between the male and the female, a immortality with growing brothels, religious and political conflicts with the foundation of the church in England were closely linked with characters' daily routine at that time in London and were reflected in this work overall. The reason why we highlight characters' job and custom like this in the movie <Shakespeare in love> is that these are ideationally inherent in a critical mind from people at that moment. The historical background and reproduction of the image depicted in the movie were focused on characters' daily routine and indicated the problem mentally and independently exposed in the form of initial capitalism.

The name of Korea during the traditional period referring to the Wuhan area in China is Muchang(武昌). This area has been imprinted with a stigmatized image of the origin of the coronavirus during this period. However, before the stigma, the space called Muchang, which was much earlier than Wuhan, had a completely different image. Although Muchang was never an easy-to-go geographical space in Korea during the traditional period, it formed the geography of a special image in Korean culture. Chinese poetry literature, or paintings, set in Muchang were the most important data to create an image of Muchang. And based on these data, the geographical space of Muchang, assumed by Korea during the traditional period, was reproduced. In this context, this paper attempts to examine how the image of the Muchang area was formed in Korean culture during the traditional period. Although it is a space that cannot be actually visited, Muchang, a space that always exists close to the image, is not a real geographic area, but a geographic space of the image. In the literature and records of koryeo(高麗) and Joseon(朝鮮), Muchang was recognized as a place where the Taoist hermit stayed. In addition, Hwanghelou(黃鶴樓), a signature structure of Muchang that remains today, was an idealized space that Koreans envy in the culture of reciting the poems of Li bai(李白) and Cui hao(崔顥) of the Tang(唐) Dynasty. In addition, the painting “Huangheloutu(黃鶴樓圖)”, depicting the appearance of Hwanghelou and Muchang, was originally produced in China, but simulations or newly painted paintings have also appeared in Korea. As such, the Muchang area was a space where people describe and imagine a place they have never been to, and wish to visit. Therefore, in this paper, we will examine how Korea’s perspective on a Chinese space called Muchang existed in the traditional period in the following way. First, we will analyze the image geography of Muchang formed in Korea during the traditional period through the literature of Koryeo and Joseon. Among them, the real geography of Muchang, which appears in the description of Kim Gu-yong(金九容) of Koryeo who actually visited Muchang, will also be analyzed. In addition, I would like to examine the process of establishing the image geography of Muchang from the literary class of the Joseon Dynasty based on the Annals of the Joseon Dynasty(朝鮮王朝實錄) and “Huangheloutu(黃鶴樓圖)” painting. Second, a QGIS spatial analysis will be conducted by extracting place names related to Muchang that appear in Pansori, a folk narrative of the Joseon Dynasty. As a result, we will confirm the appropriation and representation of a Chinese space called Muchang as a traditional Korean space or a space very familiar to Koreans, and derive its meaning.

This study proposes a new calculation method for generating real nighttime lamp-lit images. In order to improve the color appearance in the prediction of a nighttime lamp-lighted scene, the lamp-lit image is synthesized based on spectral distribution using the estimated local spectral distribution of the headlamps and the surface reflectance of every object. The principal component analysis method is introduced to estimate the surface color of an object, and the local spectral distribution of the headlamps is calculated based on the illuminance data and spectral distribution of the illuminating headlamps. HID and halogen lamps are utilized to create beam patterns and captured road scenes are used as background images to simulate actual headlamp-lit images on a monitor. As a result, the reproduced images presented a color appearance that was very close to a real nighttime road image illuminated by single and multiple headlamps.

이 글에서는 하회탈춤이 다시 복원되는 구체적인 양상과, 이러한 과정 속에서 하회탈춤과 안동문화가 이미지 결합을 이루어내고, 나아가 한국문화의 표상으로 자리잡게 되는 과정을 살펴보았다. 탈춤을 중심으로 볼 때, 20세기는 단절과 복원이 동시에 이루어진 시기라고 할 수 있다. 짧은 시간적 단절이었음에도 복원 자체가 그리 쉽지 않았던 상황은 근대를 맞이하면서 직면하게 된 일제강점기와 급격한 외래문화의 유입, 우리 전통문화에 대한 열등의식 때문이었다. 이러한 딜레마를 지역 차원에서 적극적인 노력으로 돌파구를 마련한 사례 중 하나가 바로 하회탈춤이라고 하겠다. 양반의 도시 이미지와 탈춤 도시의 이미지가 이렇게 적극적으로 공존할 수 있는 현대의 안동문화는 다양화된 문화 재생산의 양상을 잘 보여주는 것이다.

Hahoe talchoom(mask dance drama) is the most representative traditional folk drama in Korea. This drama performed in the ritual of Hahoe village, that is, ByulSin-Gut. ByulSin-Gut is the special ritual of village in local society as like Hahoe. But the present day, this traditional drama is performed in the artificial stage as a selected or inventive folk art. In this article, I researched a invention process of Hahoe talchoom concretely and a harmonious image combination of Andong culture and Hahoe talchoom, moreover these several elements make Hahoe talchoom and Andong culture the symbol of Korean culture. This social meaning is concerned with the revival of new or inventive folk art. The original shape of Hahoe talchoom is not the modified form in the shape of mordern mass cultural society as like nowadays, but the operated performance in the village ritual spontaneously, based on the tradition of folk drama. The tradition has been continuing, changing and creating. Hahoe talchoom also has cultural meaning as the invention of tradition. There is a restoration in the performance form and it appears in the making of value. The most important thing is not a economic value of the national intangible cultural properties or a cultural goods, but purposive value of a culture itself that make higher quality of human life and local culture. Because a economic wealth also could have meanings when it invest in a enjoyment of high quality human life. Therefore the national intangible cultural properties as Hahoe talchoom is connected with a image of local area as Andong. These connection and harmony of image make the brand value of local area more increase. Conclusionally if we try to cognize a current handing down phase of selected or inventive tradition and a changing phase of local area image, we can find the best handing down direction of folk art.

색상 변환 기법은 참조 영상이 가지는 색상정보를 입력 영상에 표현하는 연구이다. 기존의 연구들은 참조 영상이 가지는 색상의 분포를 입력 영상이 가지도록 하여 자연스러운 색상 변환이 가능하였다. 하지만 참조 영상을 유명 화가의 회화 작품을 사용하는 경우 그 특징이 제대로 표현되지 않았다. 이는 유명 화가의 작품들이 제한된 색상을 사용하며, 색상 대비 효과를 포함하고 있기 때문이다. 본 연구에서는 화가의 작품을 참조 영상으로 하여, 참조 영상이 가지는 특징을 반영한 색상 변환 기법을 제안한다. 이를 위해 본 연구는 두 단계로 구성된다. 첫 번째 단계는 참조 영상 분석 단계이다. 이를 위해 참조 영상에 사용된 대표 색상을 K-평균 군집 알고리즘을 적용하여 추출하였다. 그리고 참조 영상의 대표 색상들 간의 어떤 형태로 구성되어 있는지를 분석하여 작품이 가지고 있는 색 조화 패턴을 분석하였다. 두 번째 단계는 분석 정보를 이용한 색상 변형 단계이다. 본 연구에서는 입력 영상의 가장 중심 색상 추출을 위해 이미지 세일리언시 알고리즘을 적용하였다. 이미지 세일리언시는 영상에서 가장 시선이 많이 가는 곳을 추출해 주는 연구로써, 세일리언시가 가장 높은 영역이 본 입력 영상의 가장 시선이 많이 가는 색상이 된다. 그리고 나머지 영역은 참조영상의 색 조화 패턴을 적용하였다. 우리의 알고리즘은 참조 영상으로 사용한 작품의 색상 대비 효과를 잘 표현한 결과 영상을 쉽게 생성할 수 있다.

A color reproduction technique is a study in which the color information of the reference image is expressed in the input image. Previous studies makes natural color transferred results by allowing the input image to have a distribution of colors with reference images. However, if reference images are used with works by famous artists, their characteristics are not properly expressed. This is because works by famous artists use limited colors, and color harmonized pattern. In this study, we propose novel color reproduction techniques which use artist's work as a reference image and reflects the characteristics of the reference image. Our algorithm consists of two stages. The first step is the reference image analysis phase. For this purpose, the representative colors used in the reference images were extracted using K-means clustering algorithms. And the color harmonization patterns that the work has were analyzed by analyzing what forms are composed between the representative colors of the reference image. The second stage is the color transfer phase using the analysis information. For this, we use image saliency algorithm to extract the most focusing color of the input image. Image saliency is a study that extracts the most visible areas of the image, making it the most visible color of the input images viewed by the area with the highest visibility. The rest of the region applied the color harmonization pattern of the reference image. Our algorithm can easily generate result images that express the color harminized pattern effects of works used as reference images.