• Korean Association for Visual Culture
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• v.35
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• pp.5-33
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• 2019

This paper examines the problems of the concept of 'analogon' which occupies an important place in Jean-Paul Sartre's theory of imagination and his 'aesthetic of the unreal', focusing on Michel Dufrenne's objection to the concept. In the Imaginary (1940), Sartre offers a phenomenological account of the imaginative experience and his theory of imagination provides the basis for his account of experience of art. Sartre distinguishes the imagining consciousness from the realizing consciousness of perception. The work of art, for Sartre, is transformed into an irreal thing ("The work of art is irreality."), i.e. it appears only as aesthetic object, and only under the condition that the spectator's consciousness changes into an imagining consciousness. Some claim that Sartre underemphasizes the function of materiality in artworks. Mikel Dufrenne, in his The Phenomenology of Aesthetic Experience (1953), criticizes Sartre's thesis of irreality. Dufrenne argues that the aesthetic object is the work of art accomplished by aesthetic perception, the meaning of the aesthetic object is given as a whole in the sensuous and does not refer to something that lies outside the object as with imagination or irreality. An affective a priori is the condition of possibility for the occurrence of aesthetic experience.

• Journal of the Korean Society for Library and Information Science
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• v.36 no.3
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• pp.25-47
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• 2002

This study is an attempt to explore the professional image of librarianship through librarians' subjectivity using Q-methodology based on intraindividual difference in significance. The study identified four types of the professional image of librarianship and discussed their relationship; the ambivalent, the prideful, the advanced, and the critical. Each types are unique, not inter-exclusive characteristics reflected the context of the present. Also, all types have a positive image toward the librarianship.

• Journal of Broadcast Engineering
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• v.5 no.1
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• pp.2-9
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• 2000

This paper presents a statistical motion activity description method and video retrievals by using the intensity and directions of the extracted motion vectors from video sequence. Since the proposed method can represent temporal and spatial cognitive characteristics of an entire video, several images between key frames, and images in a certain interval, it can be effectively applied to digital video services such as video retrieval, surveilance, multimedia database, and broadcasting filterings. In the paper, the effectiveness of the proposed algorithm is shown with a lot of shots of MPEG-7 video dataset.

• Proceedings of the Korea Water Resources Association Conference
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• 2018.05a
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• pp.433-433
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• 2018

한국은 지진에 대한 관심이 낮았으나, 2016년 09월 12일 경상북도 경주에서 가장 큰 규모인 5.8의 지진이 발생하였으며, 강력한 지진이 발생할 수 있다는 경고가 이어지고 있다. 지진과 관련된 정확한 원인 분석과 정량적인 평가가 체계적으로 이루어지지 않고 있어, 규모와 빈도, 위험지역 분석 등 정밀한 평가와 예방대책을 마련해야 한다. 정량적인 지진 발생 분석을 위해 본 연구에서는 지진 발생과 지하수와 같은 수문기상학적인 인자에 의해 영향을 받는다는 가설을 세우고 지하수의 변동 패턴과 지진의 발생 패턴의 유사점을 추정하였다. 이를 위해 지진자료의 통계적인 특성을 분석하였다. 그리고 지질특성이나 지각 판 운동 외에도 수문순환이 영향을 미치는지 확인하기 위해 육지와 바다에서 발생한 지진으로 구분하여 지진발생횟수와 에너지를 분석하였다. 분석결과, 육지와 바다로 구분했을 때 바다에서 더 많은 지진이 일어났다. 또한 Wilcoxon rank-sum test 비모수 추정기법을 통하여 분석한 결과 서로 다른 성질을 보여 따로 분석하였다. 그 결과, 동해와 남해, 서해와 동해가 같은 성질을 보이는 것으로 분석되었다. 그리고 육지는 8월부터 이듬해 7월까지 지진발생의 한 주기를 이룰 가능성을 보였다. 그러나 바다는 육지와 정반대로 2월부터 7월까지 많은 지진 에너지가 발생하고 있으며, 1월까지는 에너지 수준이 상대적으로 낮은 것으로 분석되었다. 이와 같이 지하수가 육지에서 바다까지 유동하는 시간으로 인해 6개월의 시간지연이 발생하는 것으로 판단된다.

• Korean Journal of Mineralogy and Petrology
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• v.35 no.3
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• pp.199-214
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• 2022

The Yeongnam Massif is one of representative basement provinces in the Korean Peninsula, which has experienced high-temperature, low-pressure (HTLP) regional metamorphism and partial melting. Here we reviewed recent developments in Paleoproterozoic (1.87-1.84 Ga) hot orogenesis of the Yeongnam Massif, typified by the granulite-facies metamorphism and partial melting recorded in the HTLP rocks. In particular, spatiotemporal linkage between the metamorphic and magmatic activities, including the Sancheong-Hadong anorthositic magma as a heat source, provides a key to understand the widespread HTLP metamorphism and partial melting in the Yeongnam Massif. Crustal anatexis, resulting from the fluid-present melting and muscovite/biotite dehydration melting, has yielded various types of leucosomes and leucogranites. Zircon and monazite petrochronology, using in-situ U(-Th)-Pb data from the secondary ion mass spectrometry, indicates that the HTLP metamorphism and anatexis lasted over a period of ~15 Ma at ca. 1870-1854 Ma. In addition, a fluid influx event at ca. 1840 Ma was locally recognized by the occurrence of incipient charnockite. Taken together, the Yeongnam Massif preserves a prolonged evolutionary record of the HTLP metamorphism, partial melting, and fluid influx diagnostic for a hot orogen. Such an orogen is linked to the Paleoproterozoic orogeny widespread in the North China Craton, and most likely represents the final phase of crustal evolution in the Columbia/Nuna supercontinent.

• The Journal of the Petrological Society of Korea
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• v.13 no.1
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• pp.34-45
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• 2004

This paper describes the textural relations of mantle xenoliths and fluid inclusions in mantle-derived rocks found in alkaline basalts from Jeju Island which contain abundant ultramafic, felsic, and cumulate xenoliths. Most of the ultramafic xenoliths are spinel-lherzolites, composed of olivine, orthopyroxene, clinopyroxene and spinel. The felsic xenoliths considered as partially molten buchites consist of quartz and plagioclase with black veinlets, which are the product of ultrahigh-temperature metamorphism of lower crustal materials. The cumulate xenoliths, clinopyroxene-rich or clinopyroxene megacrysts, are also present. Textural examination of these xenoliths reveals that the xenoliths are typically coarse grained with metamorphic characteristics, testifying to a complex history of evolution of the lower crust/upper mantle source region. The ultramafic xenoliths contain protogranular, porphyroclastic and equigranular textures with annealing features, indicating the presence of shear regime in upper mantle of the Island. The preferential associations of spinel and olivine with large orthopyroxenes suggest a previous high temperature equilibrium in the high-Al field and the original rock-type was a Al-rich orthopyroxene-bearing peridotite without garnet. Three types of fluid inclusions trapped in mantle-derived xenoliths include CO$_2$-rich fluid (Type I), multiphase silicate melt (glass ${\pm}$ devitrified crystals ${\pm}$ one or more daughter crystals ＋ one or more vapor bubbles) (Type II), and sulfide (melt) inclusions (Type III). C$_2$-rich inclusions are the most abundant volatile species in mantle xenoliths, supporting the presence of a separate CO$_2$-rich phase. These CO$_2$-rich inclusions are spatially associated with silicate and sulfide melts, suggesting immiscibility between them. Most multiphase silicate melt inclusions contain considerable amount of silicic glass. reflecting the formation of silicic melts in the lower crust/upper mantle. Combining fluid and melt inclusion data with conventional petrological and geochemical information will help to constrain the fluid regime, fluid-melt-mineral interaction processes in the mantle of the Korean Peninsula and pressure-temperature history of the host xenoliths in future studies.

• Cartoon and Animation Studies
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• s.45
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• pp.75-99
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• 2016

Unlike the other media, the animation has its unique aesthetic characteristics. First, one of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. Next the animation image which is created through metamorphosis obtain new space-time by unique motility. This paper treats of two parts of space and time in animation. One is the metamorphosis image of animation and the other is the motility. To concrete this, this paper analyzed Georges Schwizgebel's Works. They are very interesting that the structural characteristics of the animation. Especially, , < La course ${\grave{a}}$ $l^{\prime}ab{\hat{i}}me$ > directed by Georges Schwizgebel are a good text for analyzing space-time of animation in that it combines various metamorphosis and motility with his expressions. The images of his works are continuously maintained transformational stream by his main expressions of metamorphosis and motility etc. This study focuses on analyzing the way of metamorphosis and motility function to make meaning in this texts. His works consist with metamorphosis and motility, and various moving images to let audience feel the characteristics of space and time in animation. We can experience numerous dual structures like space and time, freeze-frame and motility, rhythm and repetition, two dimension and three dimension, dissolution and reconstitution, abstract shape and concrete form etc from these cases. One of the main apparat is the emphasis of metamorphosis and motility by independent space of animation.

• The Journal of the Petrological Society of Korea
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• v.14 no.4 s.42
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• pp.226-236
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• 2005

Using the concept of granite suite/supersuite we hierarchically divided the Triassic granites in South Korea which have spatio-temporally close relationships each other. Among the Triassic granites in the Okcheon belt (western Yeongnam massif), the Baegrok granite and the Jeomchon granite can be grouped into one suite, the Baegrok suite, whereas the Cheongsan granite into the Cheongsan suite. These two suites can be grouped again into a larger supersuite, the Baegrok supersuite, on the basis of the similarity in the source rocks and the contrasts in the petrographic and geochemical characteristics. Three Triassic granites in the Gyeongsang basin - the Yeongdeok granite, the Yeonghae granite, and the Cheongsong granite - can be grouped into the Yeongdeok suite, Yeonghae suite and Cheongsong suite, respectively. These three suites can be grouped again into a larger supersuite, the Yeongdeok supersuite, on the basis of the similarity in the source rocks and the contrasts in the petrographic and geochemical characteristics. Nd-Sr isotopic signatures for the Baegrok supersuite are quite distinct from those for the Yeongdeok supersuite, indicating that the source materials of each granitic magma were not identical. The source rocks for the Baegrok supersuite are thought to be a mixture of two crustal components of the Yeongnam massif, whereas those for the Yeongdeok supersuite to be a mixture of the depleted mantle with the crustal components of the Yeongnam massif. The fact that the two contemporaneous granite supersuites were derived from the different sources can be explained by the difference of the tectonic environments where the granitic magmas were produced.

• Journal of Korean Clinical Health Science
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• v.1 no.1
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• pp.75-82
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• 2013

Purpose : The aim of this study was to identify the relation of cognition and visuospatial perception in stoke patients. Methods : A total of 16 stroke patients recruited from two hospital located in Donghae, Kang-won participated in this study(Right hemiplegia : twelve, Left hemiplegia : four). All participants scored higher than 20 point on the MMSE-K. To assess the cognitive function, we performed the Korean version of Mini Mental State Examination(MMSE-K), spatial perception domain of Lowenstein Occupational Therapy Cognition Assessment(LOTCA), Figure Color Copy(FCC), Linebisection Test(LBT) and Albert's test in stoke patients. Results: The Korean version of Mini Mental State Examination and spatial perception domain of Lowenstein Occupational Therapy Cognition Assessment were the highest points in sixty ages, Figure Color Copy is difference between Right hemiplegia and Left hemiplegia. Linebisection Test(LBT) and Albert's test had much relation, visuospatial perception had not relationship. Conclusion: Aging was cognition function and visuospatial perception had an interrelationship. visuospatial perception according to affected side in brain had an interrelationship but cognition function and visuospatial perception had not any interrelationship.

• Archives of design research
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• v.16 no.3
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• pp.33-40
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• 2003

With the view of an art history, 3D Animation is one of the media that was anxiously solved the issue of time and space by traditional painters, however it still could not acquire the proper position in the art field due to compromising commercialism. This is the result of devaluating for the possibility of art itself and it is only a matter of the range to apply 3D animation. In order to obtain a proper position for an art genre, previously it can be focused on how to visualize the 3D animation from our perceptions. 3D animation should not ding to the realism, it can be understand in the way of a narrative relation between the description of objects and the objects itself, further more it will be illustrated as whole units. After the aesthetical reflection, 3D animation production can be defined as an art genre and also independent from commercialism. Therefore this paper is the first step for improving 3D animation as an art and trying to discuss the way to observe 3D animation.