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김휘(Whui Kim),윤창락(Changrak Yoon),강정규(Jungyu Kang),김경호(Kyong-Ho Kim) 대한전자공학회 2015 대한전자공학회 학술대회 Vol.2015 No.11
We propose pedestrian detection rate improvement method on Tegra K1 Processor considering vehicle application. We improved the OpenCV HoG-SVM detection algorithm to reduce computation time. Using regions of interest defined by the calibration information and multi-scale classifiers that share HoG Features, computation time of HoG-SVM detector was reduced by 34% on Geforce GTX 980 processor and by 44% on Tegra K1 processor.
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피카소 콜라주와 기호학 : 새로운 해석의 가능성과 비판
진휘연(Whui-Yeon Jin) 서양미술사학회 2001 서양미술사학회논문집 Vol.16 No.-
Since its’ birth, Picasso’s cubism has been discussed by a number of art historians using various approaches. At the beginning, the formal analysis, rooted in 19th century aesthetics with its belief in the evolutionary development of abstraction, firmly established cubism as an avant-garde example of visual autonomy in early twentieth century art. Similarly collage, as an art medium, has been mostly studied from semantic reading-Rosenblum, Leighten, and Nochlin-and formal analysis. Clement Greenberg, a leading proponent of the modernism, insists that Cubist collage is a dialectical synthesis of sculpture-three dimension-and painting-illusional space-that saved art work from trompe-l’ oeil, According to him, Picasso resolved the dilemma of representation of three dimensional thing on the flat surface and overcame this by creating virtual object in cubist style. However, Greenberg’s idea and analysis of visual materials did not coherently clarify the real status of collage, swinging between the three and two dimension. Yve-alain Bois and Rosalind Krauss both strongly criticize Greenberg and other historians who underscored Picasso’s personal and social environment as well formal reading of the pieces and claimed these as the very crucial constituents of the artist’s proper name. These October editors, armed with both semiotics and structuralism, attempt to explore Picasso’s collage and to reverse the traditional perspective. Bois develops his semiology based upon Charles Peirce’s theoretic diagram of semiotics, which is founded upon Saussure’s study on arbitrary nature of sign, and material quality of signifier and signified. And Bois concludes that Picasso’s collage utilized the sign system that provides meaning beyond representation and figurative marks on art works. Instead, signifier is decoded by its function and the context with other elements. This commences toward a new direction of making images without the help from visible closeness. Bois argues what Picasso really understood from African Grebo mask is the arbitrary nature of the sign. Now collage does not belong to the iconic sign, which has clear visual connection, but to the symbolic, and it is independent from its references and the visual representation. Rosalind Krauss applied the semiotic structure to Picasso’s collage by reading their formal elements. For instance, in Violin(1912) empty space becomes a silhouette of the violin and the very ‘vacancy,’ and ‘absence’ work as the critical point of the meaning. From that, she proposes the way of collage explains depth, which is not depending upon the perspective devices, but on the sign like a letter. In the same painting, two ‘f’ holes in different sizes exist in a symmetrical relationship to each other, representing a depth in space like writing on a plane. Krauss and Bois clearly examine the possibility of different sign systems enriching the meaning of cubism and collage. However, their suggestions leads us to further questions on marks and images. Viewed differently, ‘f’ could mean female, forte, f major, and just a letter of alphabet. The whole point of semiology is to examine images as an expanded system of signs. Picasso disproved the conventional way of making and circulating images. He suggested an open system where signifier can be decoded in various ways, thus to dismiss a particular reading.
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진휘연(Whui yeon Jin) 한국예술종합학교 미술원 조형연구소 2015 Visual Vol.12 No.-
현대미술 제작은 점차 다양한 기존 작품을 포함한 시각문화 전반의 이미지들을 자유롭게 혼성하고 결합시키는 방식의 혼성모방에 크게 노출되어있다. 혼성모방은 포스트프로덕션, 또는 차용미술 등과 함께 역사의 무게로부터 비교적 자유로워진 문화대의 특징을 잘 보여준다. 2015년 베니스 비엔날레 한국관의 ‹축지법과 비행술›은 미래의 어느 시간, 베니스 한국관을 배경으로 역사의 흔적과 미술의 존재성을 타진하는 영상작품이다. 그런데, 이 작품은 미래사회, 공상과학 영화 등으로부터 많은 이미지를 차용한, 혼성모방 작품이다. 특히 ‹스페이스 오디세이›는 주제와 배경, 주요 이미지 등에서 많은 정보를 제공하고 있다. 변화한 작품제작만큼, 변화한 저자/작가의 위치는 많이 논의되었으나, 혼성모방을 통해서 관객들이 텍스트를 생성하기에 어려움이 있다. 그것은 본문을 구성하기보다는 이전 작품에의 주석으로 작동하게 되기 때문이다. 이때 관객은 자기화 된 정보의 구성을 통해 작품에 대한 비판적 수용의 텍스트를 형성하는 위치에 서야 한다. 저자론이 제기된 지 오랜 시간이 지났으나 진정한 텍스트의 주체, 관객의 탄생은 인터넷 정보를 통한 비교분석과 관계의 이해를 통해 형성되리라 본다. Pastiche, along with post-production, appropriation, one of major characteristics of post-modern art making methods has been explored by many artists. As Fredric Jameson states, it is a blank parody, rejecting layers of meaning of the original texts, speaking in dead language. From the perspective of post-structuralism, the function of an author redefined as the creator of discourse. However, pastiche makes the theoretic understanding of an author even more difficult. Moon Kyung-won and Jeon Joon-ho’s ‹The Ways of Folding Space & Flying› represented the 2015 Venice Biennale Korean pavilion, deals an art’s presence and role in the apocalyptic future society. The work employed typical scenes from sci-fi films. Without clear explanation, the protagonist repeats daily routine, such as running a round running machine, selecting information, sleeping and getting up. The works inquires the possibility of connection between Venice, Korea, past and present. As the title indicates, they needs super power to make this physical gaps united. This art work is a pastiche and it suggests conceptual and visual similarity with ‹2001 Space Odyssey›, a mind breaking 1968 film by Stanley Kubrick. Pastiche adds up information as if working as a foot-note to the text. From a foot- note, it is hard to make content for the reader/viewer. Barthes emphasized the birth of the reader instead of the author, providing a platform for the open discussion. As the dealer of the customizing information, the viewer should critically examine the structure of the pastiche. From here, the real text can be formed.
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논고 : 뒤샹의<Tu m`>: 그림자의 기호학적 가능성과 비판
진휘연 ( Whui Yeon Jin ) 미술사와 시각문화학회 2002 미술사와 시각문화 Vol.1 No.-
Tum`, the last painting of Duchamp, with a frieze-like composition, is comprised of his early ready-mades, such as bicycle wheel, corkscrew, hat-rack. in shadows, color-papers towering into the center of the painting, an index finger attached to the corkscrew, and three devices of stoppage in profile. This work, executed at the same time with his well-known The Bride stripped bare by her bachelors, even., is barely discussed, partially due to its lack of data and fragmented and enigmatic e1emenrs including the title. However, the meaning of shadows which seems to have a connection with the surrealist painters and writers, prefigures a significant step toward a new undemanding and usage of [he sign. In his Surrealist Precipitates: Shadows Don`t cast Shadows, Denis Hollier discusses the way in which the surrealist painters eliminate both the fictional features in novel, and its predictable narrative structure, He saw the anises as atheists. who denied a conventional belief of God, doubting its imaginary being and the hierarchical order in nature. Thus, the surrealists were a pond of shadows, that symbolizes me presence of something, yet in a vague way. Shadows blur the cleat distinction between the real and the fantasy, Hollier suggests that shadow is very emblematic in Charles Peirce`s sign system, working both as an index and an icon. And this enigmatic quality is the crucial desire of the surrealists who want to demolish uncertainty and to build a concrete presence in a new way. And that is found in Duchamp`s Tu m`. On the other hand, Rosalind Krauss, an October editor, armed with both semiotics and structuralism, attempted to explore Tu m` as a synthesis of index sign. Based upon Peirce`s theoretic diagram of semiotics, which was founded upon Saussure`s study on the arbitrary nature of the sign, and material quality of the signifier and the signified, she suggested that Duchamp utilized index to provide meaning beyond figurative closeness from references. For Instance, the words “tu m` “(you/ me) are shifters changing their meanings between the speaker and the listener, as in here/ there and this/that. This system also applies to the image of ready-mades that presumed an imaginary environment and changes its meaning in a different context. Most of all, these elements are incorporated with an index finger, that announces the nature of the whole pain6ng as a writing index. Krauss found semiotic structure of Tu m` similar to that of photography by reading its formal elements. For instance, in a photo. spacing and doubling work as a critical point of producing meaning. Based upon this structure. she proposed the way of a sign working as a letter. The presence and the absence satisfy the condition of language, of which meaning depends upon something it does not have, Krauss dearly examined the possibility of different sign systems enriching the meaning of an work However, the whole point of semiology is to examine images as an expanded system of signs. Duchamp disproved the conventional way of making and circulating images. He suggested an open system where the signifier can be decoded in various ways, thus dismissing a conventional reading, and escaping from the illusion of two dimensional picture ground. Considering his other works in the same period, Tu m` rather focuses on manipulating illusional space. and trompe-l`oeil, juxtaposing shadows with real objects. Therefore, optical consciousness reveals its own limits.
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