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홍선표(Hong Sun-pyo) 한국미술사학회 2004 美術史學硏究 Vol.- No.241
The present paper purposes to discuss tasks in reestablishing Korean painting history through the issue of 'meta art history' from the viewpoint of science history and theory history. Currently research and perception on Korean painting history is being developed focused on the subject and the object or nation and anti-nation based on the theory of internal development as the anti-colonial view of history. Taking typical landscape paintings and real landscape paintings as examples, the two were understood as opposite to each other in a way that former was non-subjective. imitative, ideological and foreign while the latter was national independent. original, realistic and modernistic, produced from the native color of Chosun. However, such a perception is hardly explainable considering that Jeong Seon, Kim Hong-do and other literary and professional artists in the late Chosun Dynasty created works of both tendencies without conflict. Like real landscape paintings, genre paintings and folk paintings developed as pan-East Asian genres and perception on them must also be reconstructed in the context of the circulation of East Asian practice and culture not in the view of modernism or nationalism. In modern paintings as well, Choi Woo-seok's <portrait of Admiral Lee> and other historical portraits are in fact military divines for the construction of the Great East Asia that borrowed the image of Toyotomi Hedeyoshi,and the fact that it was a symbol of 'Japan-Chosun Integration' combined with Shinto arts, which was the national polity of 'Empire' is a good example showing that it is urgent to overcome the existing frame of perception, which has been established as a discourse of resistance through reconstructing the frame of perception. To reconstruct Korean painting history. which has been defined and represented in Western modern ideologies and languages, in a form coincident with the realities, it is essential to reconsider the paradigm of art culture in the world system of East Asia, in which national boundaries have been drawn unilaterally and the others were excluded or reduced. Therefore, it is urgent above all to reconstruct Korean painting history in the structure of the paradigm of East Asian art culture and historical context, comprehending all similarities and differences between Chinese and Japanese painting histories and going beyond unilateralistic self-sufficiency and closeness or the narrowness of nationalism based on unilateralism. An East Asian standpoint to examine the reality of Korean painting history is to look the whole picture of East Asian art culture including elements jointly promoted through mutual relationship under the objective conditions of geography and system and others and to identify similarities and differences among the countries. Similarities and differences among the countries must be identified not by the relationship of universality and peculiarity established from the existing dichotomic view of the center and the surroundings but by structural elements that form the paradigm of East Asia art culture. To establish a diachronic system as 'Korean painting history' as well as synchronic perception as East Asian art history. it is required to reconstruct Korea art history as a continuing serial, breaking off the discontinuing or separated systems before and after the modern ages. Current texts of art history survey, which stop its description at the end of the Chosun Dynasty, are limited to traditional art history or ancient art history, so they are characteristically 'Korean Ancient Art History' or 'Korean Traditional Painting History.' In addition, although it is a part of Korean art history, Korean modern & contemporary art history is studied separately with little structural understanding of connection and evolution in the whole context. Such a research trend also caused dichotomic perception and discontinuity of traditional arts and creative arts, making it difficult to
Reference Map을 이용한 시계열 image data의 자동분류법
홍선표,Hong, Sun-Pyo 한국음향학회 1997 韓國音響學會誌 Vol.16 No.2
본 논문에서는 시계열 image data를 안정되고 높은 정확도로 분류할 수 있는 자동분류법을 제안하였다. 제안한 방법은 대상 영역에 관한 분류도가 기존재하던 가, 아니면 최소한 시계열 image data 중 어느 한 image data가 분류되어 있다고 하는 전제조건에 그 기초를 두고 있다. 분류도는 training area를 선정하기 위라여 사용하는 기준주제도로 사용되어진다. 제안한 방법은 1)기준주제도를 사용한 training data의 추출, 2)taining data의 균질성에 의거한 변화화소의 검출, 3)검출된 변화화소에 대한 clustering, 4)training data의 재구성, 5)maximum likelihood classifier와 같은 판별법에 의한 분류 등 5개의 단계로 구성된다. 제안한 방법의 성능을 정량적으로 평가하기 위하여 4개의 시계열 Landsat TM image data를 제안한 방법과 숙련된 operator가 필요한 기존의 방법으로 각각 분류하여 비교 검토하였다. 그 결과, 기존의 방법으로는 숙련된 operator가 필요하고, 분류도를 얻기까지 수일이 소요되는 데 반하여, 제안한 방법으로는 숙련된 operator 없이, 신뢰성 있는 분류도를 수 시간 내에 자동으로 얻을 수 있었다. A new automatic classification method with high and stable accuracy for time-series image data is presented in this paper. This method is based on prior condition that a classified map of the target area already exists, or at least one of the time-series image data had been classified. The classified map is used as a reference map to specify training areas of classification categories. The new automatic classification method consists of five steps, i.e., extraction of training data using reference map, detection of changed pixels based upon the homogeneity of training data, clustering of changed pixels, reconstruction of training data, and classification as like maximum likelihood classifier. In order to evaluate the performance of this method qualitatively, four time-series Landsat TM image data were classified by using this method and a conventional method which needs a skilled operator. As a results, we could get classified maps with high reliability and fast throughput, without a skilled operator.