• Journal of Science of Art and Design
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• v.9
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• pp.5-24
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• 2006

Human hunted and picked to survive and a vessel was made naturally to store something being hunted and picket, which was a great invention. In modern times, society changed and development of science gave us convenience in making a vessel and various kinds of store instruments which was made of pure natural material, of new stuff, such as plastic and iron. but human became to be inclined to regress into nature because of problems of environment. We can say that the representative trend is well-being, after all this is a symptom to return to life being persued by predecessors before the science civilization was developed. Ancestors have lived with nature, adapted themselves to it. For examples they have built the house which became to be a part of nature and just like it, and studied a method of storing food to eat for four seasons, then displayed a storagehouse and storage containers everywhere of the house. Now Korean has the custody of kimchi in refrigerator at every house, but our forefathers controled a timing to eat food with studying a method of storage to put to use nature. With hot wind of well-being, Korean food is becoming to be globalized, according to this, concern about the wisdom of progenitors is growing more and more. It's an example that the world shows concern seriously about the pottery, which have stored kimchi for a long time fleshly, in globalization of kimchi. This study have three purposes, the first. checking documents about the development history of pottery which is a kind of ceramic, and then the second, through an scientific experiment, with studying characteristic of pottery being built by the wisdom of ancestors, informing the merit of pottery and necessity to the world, and futhermore, the third, working up the development of close environmental vessels putting to use the characteristic of pottery.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.8 no.8
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• pp.1725-1731
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• 2004

The use of gestures provides an attractive alternate to cumbersome interface devices for human-computer interaction. This has motivated a very active research area concerned with computer vision-based analysis and interpretation of hand gestures. The most important issues in gesture recognition are the simplification of algorithm and the reduction of processing time. The mathematical morphology based on geometrical set theory is best used to perform the processing. A key idea of proposed algorithm in this paper is to apply morphological shape decomposition. The primitive elements extracted to a hand gesture include in very important information on the directivity of the hand gestures. Based on this characteristic, we proposed the morphological gesture recognition algorithm using feature vectors calculated to lines connecting the center points of a main-primitive element and sub-primitive elements. Through the experiment, we demonstrated the efficiency of proposed algorithm. Coupling natural interactions such as hand gesture with an appropriately designed interface is a valuable and powerful component in the building of TV switch navigating and video contents browsing system.

• Journal of The Korean Association For Science Education
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• v.37 no.1
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• pp.155-168
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• 2017

This study investigates how elementary students used cognitive-emotional rebuttals in the context of modeling activities, especially on how their emotional and cognitive processes lead them to use rebuttals in terms of epistemic affect. Twenty-five fifth grade elementary students participated in the study as part of their science class. During the course of their sixth periods, students constructed a human respiratory system model through continuous discussion. The research results showed that elementary students used an elaboration-oriented rebuttal, a defence-oriented rebuttal, and a blame-oriented rebuttal in their modeling activity. The elaboration-oriented rebuttal interspersed with negative epistemic affect was used to elaborate on a student's explanation, and a negative epistemic affect was elicited from their cognitive discrepancy. On the other hand, defence-oriented rebuttal and blame-oriented rebuttal entangled with negative epistemic affect were used to defeat the students rather than help rigor evaluation of students' explanation, and the negative epistemic affect was elicited from the other students' undesirable behavior. These results suggest that students' rebuttals can be elicited by epistemic dynamics related to the epistemic affect. The study shows that if negative epistemic affect were elicited from the other students' naive or false explanations, such an emotion is natural in terms of model construction, and the model can be further developed through the acceptance of the elaboration-oriented rebuttals by students' emotion regulation. In addition, we suggest that negative emotions aroused from the worsening of relationships during small group modeling activities are difficult to regulate and can have negative effects on students' cooperative model construction.

• (The)Study of the Eastern Classic
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• no.71
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• pp.181-203
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• 2018

This study examined the structure that can explain the 'gewuzhizhi' as a medical research methodology and how to acquire knowledge from this structure. First, we derive a structure that implies the meaning of 'gewuzhizhi' shown in "Liji" and "daixue" in relation to "xueji" and "shaoyi". It is Xue- gewuzhizhi -'You(游)'. Then, we examined the purpose of the travelling Mt. Hua of Wang Lu, who was a landscape painter and medical researcher and physician and the implication of 'You' in Song Dynasty's painting theory of "Tuhua Jianwenzhi", "Linquan Gaozhi". In the course of the review, I explained the following. First, 'You' in the travelling Mt. Hua of Wang Lu and 'You' in the painting theories of Song Dynasty belongs to the structure of Xue- gewuzhizhi-'You'. Secondly, the meaning of 'gewuzhizhi' in the structure of Xue-gewuzhizhi-'You' was deepened in Song Dynasty. Third, The way in which the 'You' of the Song Dynasty's painting theory is to learn the reason of things is to observe things. Fourthly, the structure of the Xue-gewuzhizhi-'You' was practiced in the painting area in the Song Dynasty, and the field of practice was extended to the study of medicine by the landscape researcher who followed the painting theory of Song Dynasty. Fifth, through the assertion of Wang Lu's 'I take Mt. Hua as my teacher[師]', Wang Lu finds that the source of the recognition lies in nature(Mt. Hua). Through the above, 'gewuzhizhi' shown in "Liji" and "dai xue" is involved in the theory of cultivation and epistemology, and the structure of xue-gewuzhizhi- 'You' involved in epistemology and the method of recognition is found in observation. Through these investigations, I understood logically 'gewuzhizhi' as a method of medical research.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Proceedings of the Korea Water Resources Association Conference
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• 2011.05a
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• pp.382-382
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• 2011

최근의 극심한 기상이변으로 인하여 발생되는 유출량의 예측에 관한 사항은 치수 이수는 물론 방재의 측면에서도 역시 매우 중요한 관심사로 부각되고 있다. 강우-유출 관계는 유역의 수많은 시 공간적 변수들에 의해 영향을 받기 때문에 매우 복잡하여 예측하기 힘든 요소이며, 과거에는 추계학적 예측모형이나 확정론적 예측모형 혹은 경험적 모형 등을 사용하여 유출량을 예측하였으나 최근에는 인공신경망과 퍼지모형 그리고 유전자 알고리즘과 같은 인공지능기반의 모형들이 많이 사용되고 있다. 하지만 유출량을 예측하고자 할 때 학습자료 및 검정자료로써 사용되는 유출량은 수위-유량 관계곡선식으로부터 구하는 경우가 대부분으로 이는 이렇게 유도된 유출량의 경우 오차가 크기 때문에 그 신뢰성에 문제가 있을 것으로 판단된다. 따라서 본 논문에서는 수위를 직접 예측함으로써 이러한 오차의 문제점을 극복 하고자 한다. Neuro-Fuzzy 모형은 과거자료의 입 출력 패턴에서 정보를 추출하여 지식으로 보유하고, 이를 근거로 새로운 상황에 대한 해답을 제시하도록 하는 인공지능분야의 학습기법으로 인간이 과거의 경험과 훈련으로 지식을 축적하듯이 시스템의 입 출력에 의하여 소속함수를 최적화함으로서 모형의 구조를 스스로 조직화한다. 따라서 수학적 알고리즘의 적용이 어려운 강우와 유출관계를 하천유역이라는 시스템에서 발생된 신호체계의 입 출력패턴으로 간주하고 인간의 사고과정을 근거로 추론과정을 거쳐 수문계의 예측에 적용할 수 있을 것이다. 유전자 알고리즘은 적자생존의 생물학 원리에 바탕을 둔 최적화 기법중의 하나로 자연계의 생명체 중 환경에 잘 적응한 개체가 좀 더 많은 자손을 남길 수 있다는 자연선택 과정과 유전자의 변화를 통해서 좋은 방향으로 발전해 나간다는 자연 진화의 과정인 자연계의 유전자 메커니즘에 바탕을 둔 탐색 알고리즘이다. 즉, 자연계의 유전과 진화 메커니즘을 공학적으로 모델화함으로써 잠재적인 해의 후보들을 모아 군집을 형성한 뒤 서로간의 교배 혹은 변이를 통해서 최적 해를 찾는 계산 모델이다. 이러한 유전자 알고리즘은 전역 샘플링을 중심으로 한 수법으로 해 공간상에서 유전자의 개수만큼 복수의 탐색점을 설정할 뿐만 아니라 교배와 돌연변이 등으로 좁아지는 탐색점 바깥의 영역으로 탐색을 확장할 수 있기 때문에 지역해에 빠질 위험성이 크게 줄어든다. 따라서 예측과 패턴인식에 강한 뉴로퍼지 모형의 해 탐색방법을 유전자 알고리즘을 사용한다면 보다 정확한 해를 찾는 것이 가능할 것으로 판단된다. 따라서 본 논문에서는 선행우량 및 상류의 수위자료로부터 하류의 단시간 수위예측에 관해 연구하였으며, 이를 위해 유전자 알고리즘을 이용항여 소속함수를 최적화 시키는 형태의 Neuro-Fuzzy모형에 대하여 연구하였다.

• Archives of design research
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• v.16 no.3
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• pp.101-110
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• 2003

People are surrounded with numerous sounds. The sound is generated from nature and people. For example, the sound enables people or animal responsive to instinctive action. Music or fine arts are presented differently by its distinctive medium. On the other hand, those art forms are similar in a way that people uses right side of brain and intuitions for creative effects. Conjunctions between sounds and visual arts have been progressed to data. From art forms in subjective views to art forms using high technology such as the computer, experiments for sounds visualization are practiced constantly. For that reason, intrinsic attributes of sounds in design area and distinctive qualities are discussed in this study. With respect to existing category of studies and consideration of the tendency in recent researches, the object is to propose direction for the study in regards to methodology of design, which is reconstructing visualized expression.

• Archives of design research
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• v.18 no.2 s.60
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• pp.265-272
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• 2005

In Korean language, 'changeu'(originality) and 'changjo'(creativity) has been used as almost same meaning, because these have similar pronunciation. However, originality means idea and creativity means process. The former is based on intuition, and the latter is on both of logic and intuition. Intuition process is not perceived very well, but logic has very clear one. We can find the due for that creating something is not difficult too much anymore, because the process is identified. The creation process is a problem solving process and it has the design on its center. Designer study the problem solving process and learn how to solve the problem with many cases on its studio class. Then we can call them as a creator. The meaning of design that it is a styling is very usual in Korean public and even designers. However, it will be not valid anymore in the upcoming digital age, which reproduction is possible with a little restriction. Design should be back as an original methodology for creation with the designer's own capability such as conception, intermediation, and visualization.

• (The)Study of the Eastern Classic
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• no.34
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• pp.339-362
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• 2009

If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

• Sijohaknonchong
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• v.44
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• pp.29-56
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• 2016

The purpose of this article is to shed light on the position and the importance of sijo (Korean traditional poetic form of Three-Line Stanzas) of the Korean poet Park Jae-sam among Korean sijo writers. Even though Park Jae-sam started his career as a poet writing two sijos and a poem, he began to write more poems than sijos later on. Anyway his interest in sijo writing has continued and he has served as a judge of sijo writing contests ever since. Especially in 1985, he published a collection of sijo. And each sijo writing in this collection are composed of three-line stanzas and each stanza of three lines. And each line has a rhythmic sound with a formal word formation. This article reveals that Park Jae-sam has pursued a happy unity of form and content in his sijo writings from the collection and that he has tried his hardest to realize this goal. This article notes that for this goal he puts stress on some methods of creating poetic images and the process of creating new ideas, the unity of Koreans's unique emotion of han(恨) and a sense of eternity, transcendence through ambivalent emotions, and the structure of statement mainly made of juxtaposed metaphors. And this articles also notes that as a most sincere lyric poet in the history of sijo he is much distinguished from other Korean poets in that he depicts mainly Koreans's unique emotions and their characteristics.