시적 활동에서의 이미지(Image)의 존재론적 의미

하상협 대동철학회 2010 大同哲學 Vol.50 No.-

이미지는 여러 방면에서 다양한 역할과 성격을 지니고 있지만 이 논문에서는 시적활동에 있어서 이미지의 역할과 이미지의 존재론적 의미를 고찰하고자 한다. 시인은 시적 이미지를 통해서 우리를 현존으로부터 존재의 근원으로 나아가게 한다. 시적 이미지는 대상이 지니고 있는 근원적 의미를 단순히 재현하거나 모방하는 것이 아니다. 그것은 그 대상을 상상력을 통해서 숨어있는 의미, 새로운 의미의 운반자로 변형시키는 것이다. 이러한 시적 이미지는 정신의 전의식적 삶에 속하면서 우리의 예지를 감동시키고 일깨워주는 역할을 함으로써 우리로 하여금 절대적 존재에로 나아가게 한다. 다시 말하자면 시적 이미지는 현실에 뿌리를 둔 지각에서 출발을 하지만 그것은 상상력을 통하여 우리를 시인이 드러내고자 하는 것, 즉 절대적 존재에로 접근하도록 해준다. 그리하여 이 논문에서는 시적활동에서의 이미지는 대상에 대한 단순한 모사나 재현이 아니라 상상력을 유발시켜서 우리로 하여금 존재의 근원으로 나아가게 해주는 역할을 하고 있음을 고찰하게 될 것이다. The term, "image" connotes diverse character and roles in meaning according to genres; however, in this particular article, the role of image in a specific area of the poetic activities and simultaneously an ontologic significance of the image in the poems will be discussed. A poet can make us to access to the origin of the ontological existence from one's physical existence through the poetic image. The poetic image does not simply express or emulate objective materials to poems but also transform lurking significance of objects to real revelation of truth through poet's imagination. The poetic image encourages us to access to the absolute being by inspiring and promoting supreme intelligence in poems. In other words, the poetic image arose at first from the percipience rooted on the physical lives; nevertheless, the image finally pulls us to where the poet want brought, that is absolute being induce imagination. Conclusively, the "image" in the poetic activities was contemplated as a conception of an action which did not simply emulate or express the objects but did a role to make us to approach to the absolute being induce imagination.

유전 알고리즘에 의한 영상 복원

김무영,김장형 濟州大學校 産業技術硏究所 1999 산업기술연구소논문집 Vol.10 No.1

This paper is related to the image restoration which is one of the image processing technologies, mainly used in multimedia technology nowadays. If the image gets faded and noised, it comes difficult to utilize the image. In this case, the image restoration method is mainly used. The early image restoration method employed concept in frequency domain, algebraic technology is recently a lot being used. In this paper, proposed method to restore the distorted image using optimization faculty of the genetic algorithm. Initial predictive image group is generated from the distorted image in order to get the original image. Genetic operation is applied to the individuals in the produced group in order to generate the next generation predictive image group. Predictive image which approaches the original image is obtained after generating several generations through reiterating this procedure.

이미지의 측면에서 본 문학과 미술의 관계

신혜경,김진수 경기대학교 2000 論文集 Vol.44 No.1

By looking at the long history of esthetics and art theory, there is no doubt that art is formed on the basis of an image. The imitation theory, which describes art as a reproduction of reality, dominated Western art theory since Platon. In 18th century, romanticism, which tells art as an expression of one's emotion, arose in opposition to the imitation theory. In spite of different point of views, both theories agree with each other on the point that art use an image as a vehicle to the meaning of its own existence. In structuralism, which criticizes both the imitation theory and expressionism, art is considered as an area existed through a realm which is different from a realistic realm or an imaginary realm. Even though there are some differences about the other on the point that art is originated by an image. The peculiar character of art, which classify art from other areas like science or religion, can be found in the meaning of an image and its origin. Therefore, it can be said that every esthetical theories that deal with the characteristic origin of art must discuss the existence of an imagination and an image. An image and an imagination, which produce the image, provide the most mystical feature of human being. We can begin to understand relations among different areas of art, especially between language arts and fine arts, through an image and an image process. In art, an image does not mean the possession of an image itself. It actually means the variety in supposed image process! This possibility of various interpretations comes from the metaphorical feature that one image confronts on unvisible facts through visible facts. This kind of the metaphorical feature of an image can transfer one realm to another. The image can be a vehicle for this kind of transfer. Art as a creation of an image forms the actual existence of unrealistic objects or in existing objects. This is because the artistic image, which materialize esthetical objects is set up as an unrealistic condition formed through imaginations. The imagination described here can be understood as the energy that the in existing image of an existing object displays by including the existence of that object. Throughout Western art history, it was the surrealism movement that literature and fine arts were recognized as the most similar spiritual work of art through the common understanding to the production of an image by an imagination. Especially surrealism remarks the fact that both literature and fine arts are the creations of an image based on unconscious mental movements. Surrealism arts regard an image as the only rhythmical support. That is materialized by continual combination of contrasting images. We can provide the basis of discussion for the difference and the similarity between literature and fine arts by following the motive of an encounter between two areas through an image which suggested by surrealists. In surrealism literature, words do not just meanings of them. Surrealism literature take aim at the virtual life vision which cultivates images beyond reality. It was the same vision stated above that surrealism paintings pursued. Surrealism paintings have various figurative motives on the surface. However, surrealism paintings eventually create new meanings for those motives by recomposing them. A. Breton's poetry, R. Magritte's and A. Masson's paintings, they all create the virtual life vision as an image beyond reality. In literature and fine arts, the issues of a image set the ground for an open discussion about a relationship between the world and the human race. Here, the image works as a vehicle to fill the abyss of tense relationship between subject and object, consciousness and unconsciousness, reality and virtual reality, and between existence and in existence. Therefore, it can be said that the image is a vehicle to visualize the in visible. Even if we accept the image as tool for communication', We can use the image as a tool for setting up the connection between the world and the human being. In this case, the image should not be understood only as a tool for communication but it should be understood also as a product of the human race for establishing relationship with the environment. This means a phenomenon of existence as well as that of in existence. Therefore, this is a sign of in existing reality at the same time that of existing unreality.

Digital Image Quality Assessment Based on Standard Normal Deviation

Hyung-Ju Park,Dong-Hwan Har 한국콘텐츠학회(IJOC) 2015 International Journal of Contents Vol.11 No.2

We propose a new method that specifies objective image quality factors by evaluating an image quality measurement model using random images. In other words, No-Reference variables are used to evaluate the quality of an original image without using any reference for comparison. 1000 portrait images were collected from a web gallery with votes constituting over 30 recommendation values. The bottom-up data collecting process was used to calculate the following image quality factors: total range, average, standard deviation, normalized distribution, z-score, preference percentage. A final grade is awarded out of 100 points, and this method ranks and grades the final estimated image quality preference in terms of total image quality factors. The results of the proposed image quality evaluation model consist of the specific dynamic range, skin tone R, G, B, L, A, B, and RSC contrast. We can present the total for the expected preference points as the average of the objective image qualities. Our proposed image quality evaluation model can measure the preferences for an actual image using a statistical analysis. The results indicate that this is a practical image quality measurement model that can extract a subjects preferred image quality.

러시아인의 한국이미지에 관한 연구

방교원(BANG, gyo young) 한국슬라브유라시아학회 2014 슬라브학보 Vol.29 No.2

This study is the second report among the three-phased research on the national image between Korea and Russia, image on the nation, its people and the government held in Russian minds in their twenties. To study images on Korea, the theoretical grounds to qualitatively define ethnic culture were proposed for the purpose of identifying the categories of responses that enable respondents to differentiate a nation’s exclusive image: 5 categories based on brand theories (people, government, culture, travel and products). These categories would be investigated and interpreted with appropriated questions. In general, Korean people and government have positive national image in Russian young women’s mind. But the Korean tradition and modernity is overlapped in their mind which makes Korean image deeply engraved in a kind of compound or synthetic one. In the eyes of Russian young women, the Korean government and people are democratic and communicative with their modern aspects in many dimensions. Korean culture has highly sophisticated aspect and its products have modern and common image. But the sightseeing and products history of Korea are not overlapped with the positive image of the Korean government, people and culture. The Korean nation’s image is defined by firstly its people and government in Russian young women’s imagination whereas the sightseeing and products are not considered essential. In other words, it is the image reflected from the real power that they support its positive aspects but not from their own free will or free participation. By studying Russian young women who make their national image of Korea, this paper explores how a country develops ‘identity as its image’ to make itself known in a specific market. Korean national image, and the image of its government, people, culture, travel sites and products have almost intersubjectivity to comunicate and promote the history, tradition, ideology, friendship and social values, democracy and equality that Koreans have desired to guard and protect. They need to be better communicated for due recognition outside the nation.

A New Approach Based on Order Reduction Using Sub Image Formation in Minimizing the Computation Time for Image Compression

보안공학연구지원센터(IJSIP) 보안공학연구지원센터 2015 International Journal of Signal Processing, Image Vol.8 No.3

Image compression is the process to remove the redundant information from the image so that only essential information can be stored to reduce the storage size and transmission time. Advancement in still image compression becomes essential for various applications like medical imaging and multimedia applications. The task of image compression generally refers to deriving a near approximated compressed image for the given input image. Methods for tackling this problem have to do a delicate balancing act of suppressing the unwanted effects in visualizing without losing features of interest. Different techniques were already proposed in this area which is not sufficient to maintain good quality of the compressed image without sacrificing the compression ratio. Thus, new image compression algorithm based on order reduction using sub-image formation is proposed for lossy compression scheme. Obviously, the tradeoff between compression ratio and picture quality is an important issue in image compression. The importance of running time of compression was further investigated as this process can be used in high speed data transmission applications. The simulation process is carried out determining the computation time using MATLAB. The algorithm tested for still images of different size too.

IMAGE VIVIDNESS, IMAGE CONGRUITY AND THEIR INFLUENCES ON THE EFFECTIVENESS OF ECOTOURISM

Fang Liu,Chaozhi Zhang,Geoff Soutar 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

Advertising is important for tourism and past research has demonstrated its cognitive, affective and behavioural effects on consumers (e.g., Vakratsas & Ambler, 1999). These effects are largely dependent on how well viewers process advertisements that contains different elements, such as image, description and slogan. Images are particularly important to tourism advertisements and most tourism advertisements include images of the advertised destination. This paper proposes a conceptual model which explores the influences of image vividness and image congruity on the effectiveness of ecotourism advertisements. The Meaning Transfer Model (e.g., McCracken, 1989) suggests an object’s meaning can be transferred through images. This model has been widely adopted in advertising because most advertisements contain images. Images are believed to help transfer the intended advertising meaning and intention of the advertiser (Shimp & Andrews 2013). Most previous advertising research has focused on meaning transfer through the use of celebrity endorsers (e.g., Campbell & Warren, 2012; Hanrahan & Liu, 2013) whilst limited studies have examined key factors that influence the success of a meaning transfer from an advertising image to the advertised brand . Image vividness is believed to be one of the important factors that can influence the success of a meaning transfer (Nisbett & Ross, 1980). However, findings from previous research on image vividness are far from consistent. Some findings suggest that image vividness facilitate imagery processing and subsequently increase advertisement and brand favourability (Fennis et al., 2012) whilst other findings suggest that image vividness has no direct impact on attitude formation or persuasion (Taylor & Thompson, 1982). Recent research suggests that, advertising elements, in particular image vividness, may play an important role in forming the attitude towards the advertisement as well as the travel intention towards the advertised destination (Pelsmacker et al., 2002; Rasty et al., 2013). Besides image vividness, image congruity may be another important factor in determining the success of a meaning transfer through advertising images (Shimp & Andrews, 2013). Congruity has been widely studied in the field of consumer behaviour (Sirgy, 1990; Wang et al., 2009). McLaughlin (2009) categorised advertising congruity into four types (advertisement and context congruity, advertisement and product congruity, advertisement and advertiser congruity, and advertisement and other commercial component(s) congruity). Image congruity with the advertised product category has been identified as one of the most important advertising congruities (Chandon et al., 2000). Congruent advertisements are better than incongruent advertisements in generating positive attitudes or feelings towards an advertisement. For example, Kamins et al. (1991) found a viewer’s perceived congruity between the emotions reflected in a tourism advertisement and the media invoke more positive attitude towards the advertisement. Further, Rifon et al. (2004) found congruity between the description of an advertisement (ad description) and an advertising website used to display the advertisement resulted in more positive attitude towards the brand. Congruent advertisements can also generate a better purchasing intention. Kamins et al. (1991) found congruent advertisements were better at invoking an intention to use an advertised service. Conversely, incongruent advertisements lead to frustration or other negative feelings or a less favourable attitude towards an advertisement (Mandler, 1981). Australian ecotourism advertisements are selected as the context of the current study. Ecotourism is a nature-based tourism that focuses on preserving the environment, benefiting local economies and educating travellers (Weaver, 2008). Although ecotourism is rapidly developing in the last decade, the effectiveness of ecotourism advertising has been rarely researched, perhaps because ecotourism is still a relatively new area of tourism (Hughes et al., 2005). Reiser & Simmons’s (2005) study is among a handful of studies which have investigated the effectiveness of ecotourism advertisements. Their study found that ecotourism labels helped develop a positive attitude towards an advertisement and the advertised destination. Additionally, Chang et al. (2005) found that the use of a celebrity aboriginal endorser was more effective in achieving a favourable attitude towards an advertisement than was the use of a non-celebrity aboriginal endorser. Ecotourism advertisements often use three major types of images (scenery, animal and people) (Morgan & Pritchard, 2001). However, no empirical studies have examined the meaning transfer between image and advertising responses within the ecotourism context. People’s Republic of China is a critical market for Australian tourism and it is Australia’s second largest tourist source country (Australian Bureau of Statistics, 2014). Chinese tourists ranked first in terms of total trip expenditures (a total of $5.7 billion in 2014) (Tourism Research Australia, 2015). By 2020, China is expected to become Australia’s largest source country (Tourism Australia, 2011).The ecotourism market in China has risen in the past decade since its introduction in the 1990s (Cheng et al., 2013; Zhong et al., 2007). There were 1.9 billion domestic trips in China in 2009, of which 333 million were ecotourism trips. Around 80% of China’s nature reserves now have some form of ecotourism feature (Chappell, 2012). Chinese ecotourists are increasingly interested in taking overseas ecotourism trips. However, no previous study has empirically examined Chinese ecotourists’ attitude towards foreign ecotourism advertisements, which provides the opportunity for the current study. Based on the above discussion, the paper proposes positive relationships among image vividness, image congruity, attitude towards the advertisement and travel intention towards the ecotourism destination. Empirical research will be carried out in the future to test the proposed relationships. The theoretical framework can also be extended by including other advertising effectiveness measures such as comprehension or emotion (MacKay & Fesenmaier, 1997) so as to develop a better understanding of Chinese ecotourists’ responses to ecotourism advertisements.

이미지 기반 SNS의 스토리텔링 구조 연구

김유나(Juna Kim) 인문콘텐츠학회 2016 인문콘텐츠 Vol.0 No.41

SNS는 개인의 미시적인 일상을 공유할 수 있는 스토리텔링 매체이다. 본 연구에서는 SNS가 텍스트 기반에서 이미지 기반의 형식으로 변화하고 있다는 점에 주목하고, 이미지 기반 SNS에 나타난 스토리텔링 구조를 밝히고자 한다. 이때 이미지와 해시태그(#)가 빈번하게 결합한다는 점에 주목하고 그 결합 양상을 분석한다. 이미지 기반 SNS에서 이미지는 다의적 의미로 해석될 수 있는 비결정적 사건이며, 해시태그는 이미지를 해석하는 기표가 된다. 특히 해시태그는 계열적 발산 운동을 통해 이미지에 대한 서사적 맥락을 생성하고, 이는 다시 수렴 운동을 통해 하나의 서사적 의미로 귀결한다. 이미지 기반 SNS는 이와 같은 이중 운동을 통해 서사적 구조를 획득한다. 본 연구에서는 이미지와 해시태그가 끊임없이 상호작용을 하면서 서사적 의미를 생성해낸다는 점에서 이미지 기반 SNS의 매체적 함의를 고찰한다. SNS is a storytelling medium in which users can share their personal daily lives. This study takes note that text-based SNS is turning into image-based one, and tries to reveal the storytelling structure of image-based SNS. Specifically this study pays attention to the fact that images and hash tags(#) are frequently binding together and analyzes the pattern. In the image-based SNS, images function as non-deterministic events that can be interpreted in several ways. Hash tags function as interpretative signifier of the image. In particular hash tag is creating a narrative context for the images through paradigmatic divergent movement, which then led to a convergence of narrative meaning through syntagmatic convergent movement. Image-based SNS acquires the narrative structure through this dual movement. This study thus examines the implications of image-based SNS in that it is constantly generating narrative meanings from interactions between images and hash tags.

이미지, 사유의 체계

권혁웅(Kwon, Hyuk-woong) 한국시학회 2016 한국시학연구 Vol.- No.47

이 논문은 문학연구 방법론으로서의 이미지를 다룬 연구이다. 재래의 문학 연구 방법론이 가진 이미지론의 한계를 극복하고, 이미지의 역량이 최대한으로 발휘될 수 있도록 이미지의 정의와 적용범위를 새롭게 하였다. 벤야민, 랑시에르, 미첼, 베르그손, 들뢰즈의 논의를 통해 다음과 같은 열 가지 명제를 도출하였다. 1. 이미지는 개념이나 서사를 대체하는 새로운 사유의 역량을 갖는다. 2. 이미지에는 역사적 시간의 경험이 아로새겨져 있다. 3. 이미지에는 세속적, 현실적 체험만이 아니라, 상투적인 시간을 단절하고 도래하는 메시아적, 혁명적 체험이 내재해 있다. 4. 이미지는 서로 다른 체계(문학, 회화, 영화, 음악 등)를 유사성/비유사성의 관계를 통해 정의할 수 있는 체계다. 5. 나아가 이미지는 그런 체계들의 비교와 변환, 관계의 정립과 재정립을 가능하게 하는 체계의 역량(체계의 체계)이기도 하다. 6. 이미지는 그것이 지시하는 대상과 다양한 관계를 맺는다. 대상과 일치하기도 하고(우상숭배), 대상과 관련된 사물이 되기도 하며(페티시), 대상에 대한 표상(토템)이 되기도 한다. 7. 이미지가 대상과 맺는 세 가지 관계를 통해서 수사학적 세계관을 검토할 수 있다. 8. 이미지는 변화하는 세계 자체이자, 그 세계와 작용하고 반작용하는 주체 자신이기도 하다. 9. 이미지를 통해 주체와 객체가 관계하는 세 가지 양상(지각, 행동, 정념)을 탐색할 수 있다. 10. 이미지를 낳는 특별한 응축의 패턴이 리듬이므로, 이미지는 궁극적으로 리듬과 통합될 수 있다. 이 논문에서는 이를 시텍스트와 비문학 텍스트의 예를 통해 검증하였다. 이후에도 추가적인 검증과 예시를 통해서 이미지의 역량을 증언하고 그 실례를 살펴나가고자 한다. This paper examines the image as a methodology of literary studies. The definition and scope of the image are re-established to maximize its capacity and to overcome the limitations of image theories found in traditional research. Based on the discussions of Benjamin, Rancière, Mitchell, Bergson and Deleuze, this study derived ten propositions. 1. The image has the capacity for new thoughts that replace concepts or narratives. 2. The image is inscribed with the experience of historical time. 3. The image contains both secular, realistic experiences and messianic, revolutionary experiences that depart from the conventional concept of time. 4. The image is a system that can define other systems (literature, painting, film, music, etc.) based on similarity/dissimilarity relationships. 5. Furthermore, the image is the competency of a system that enables the comparison and conversion of such systems, and the establishment and re-establishment of their relationships. 6. The image forms various relationships with its referent. It can match the referent (idolatry), become an object related to the referent (fetish), or become a representation of the referent (totem). 7. The rhetorical worldview can be examined through the three relationships formed between the image and the referent. 8. The image is the changing world itself, as well as an agent reacting with the world. 9. The three forms (perception, action, affection) related to the subject and object can be explored through the image. 10. The image can ultimately be integrated with rhythm, which is the pattern of special condensation that gives birth to the image. This study compared poems and non-literary texts, and seeks to employ further examples to support the propositions.

시각 이미지에는 있으나 언어에는 없는 것

김남시(Kim, Nam-see) 한국시학회 2016 한국시학연구 Vol.- No.48

본 논문은 이미지 연구에서 제기된 문제의식을 시 텍스트 해석에 적용, 새로운 시적 이미지 연구방법론을 모색하려는 문학계의 논의에 대한 시론적 제언이다. 그간의 이미지 연구는 주로 시각적 이미지를 대상으로 하는 바, 그를 문학 이미지 연구에 적용하기 위해서는 무엇보다 언어를 통해 구성되는 ‘시적 이미지’와 ‘시각적 이미지’의 차이와 개념을 명확히 해야 할 것이라고 여겨진다. 그를 위해 본 논문은 시각적 이미지와 언어적 텍스트의 차이에 대한 이론들을 고찰한다. 무엇보다 시각적 이미지는 묘사하는 대상의 디테일들을 한눈에 파악할 수 있도록 담고 있다는 점에서 텍스트와 구별된다. 회화와 문학 사이의 경계를 긋고자 하는 레싱에 의하면, 문학은 시간 속에서 이루어지는 행위의 서술하는 데 더 적합하며, 미술은 공간 속에 있는 물체들을 묘사하는 데 더 적합하다. 이는 선행적이고 연속적인 언어와 즉각적이고 병렬적인 시각 이미지의 매체적 특성에서 기인한다. 많은 경우 회화 속 특정 디테일은, 화가의 의식적인 작화 행위의 영역에서 벗어나 그의 습관적, 무의지적 특성을 보여줄 수도 있다. 모렐리는 이를 위작 판별법의 출발점으로 삼았다. 사진을 ‘코드 없는 메시지’라고 정의한 롤랑 바르트는 사진 이미지 속에 언어로는 포섭되지 않는 지점(푼크툼, 무딘 의미)이 존재하고 있음을 주장한다. 매체이론가 키틀러는 문학이 언어를 매개로 감각정보를 기록하고 전송하는 기능을 해왔으며, 이는 사진이나 영화 같은 기술적 매체의 등장과 더불어 그 유효성을 상실했다고 진단한다. 이러한 이론들은 문학적 이미지와 시각 매체들이 생산하는 이미지의 개념 및 그 차이에 대한 본질적인 물음을 제기한다. This paper aims to be a suggestion for the discussion of the poetic image raised by literary scholars, who try to apply the theorem of visual image studies to poetic image. Because the image studies hitherto dealt with visual images, it is unavoidable to make clear the difference and concept between ‘poetic image’ and ‘visual image’. For this purpose, this paper examines the theories about the difference between visual images and linguistic texts. Above all, the visual image is distinguished from the text in that it contains the details of the objects to be depicted. According to Lessing, who wants to draw the line between painting and literature, literature is better suited to describe the actions that take place in time, and art is better suited to describe objects in space. This is due to the continuity, the medial characteristics of language, which results in different way of perception in poetry and paintings. In many cases, the specific details in the painting may reveal the habitual and unintentional traces, escaping from the artist’s consciousness of painting. Morelli set this as a starting point for a method of discerning the forgery from the original. Roland Barthes, who defines photographs as ‘codeless messages’, argues that in the photographic image there is a point that does not get involved in the language (punctum). The media theorist Kittler noticed that the literature has functioned as a instrument to record and transmit sensory information by language, which, in conjunction with the emergence of technical media such as photography and cinema, has lost its validity. These theories raise the questions of the concept of poetic images and images produced by visual mediums, which must be further clarified.