• Journal of the Korean School Mathematics Society
• /
• v.23 no.1
• /
• pp.25-44
• /
• 2020

This study investigated the representation and algorithms of western mathematics reflected on the algebra domains of Chosun-Sanhak in the 18th century. I also analyzed the co-occurrences and replacement phenomenon between western algorithms and traditional algorithms. For this purpose, I analyzed nine Chosun mathematics books in the 18th century, including Gusuryak and Gosasibijip. The results of this study are as follows. First, I identified the process of changing to a calculation by writing of western mathematics, from traditional four arithmetical operations using Sandae and the formalized explanation for the proportional concept and proportional expression. Second, I observed the gradual formalization of mathematical representation of the solution for a simultaneous linear equation. Lastly, I identified the change of the solution for square root from traditional Gaebangsul and Jeungseunggaebangbeop to a calculation by the writing of western mathematics.

• Proceedings of the Korean Information Science Society Conference
• /
• 2006.06b
• /
• pp.373-375
• /
• 2006

본 논문에서는 한국의 전통문양을 이용하여 이미지 코드를 구성하고 문양 내부에 데이터를 저장 할 수 있도록 구조를 설계하였다. 인코딩과 디코딩 알고리즘은 일반 사용자 컴퓨터 환경에 적용 할 수 있도록 제안하였다. 기존의 이미지 기반 코드들과는 다르게 데이터 구조를 유지하면서도 디자인 적인 측면을 살려 이미지 코드에 한국의 문화적인 요소를 표현할 수 있게 되었고 문화 코드로서 역할을 수행하게 되었다. 처음 설계 단계에서부터 전통문양을 이용한 한국의 문화를 표현찬 수 있는 코드의 개발을 목표로 접근하였고 이를 유비쿼터스 시대의 문화코드로 사용함으로서 한국의 전통문화와 멋을 세계에 널리 알리고 감성을 자극하는 코드역할을 할 것으로 기대된다.

• Journal of Science of Art and Design
• /
• v.7
• /
• pp.128-149
• /
• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• Korean Architects
• /
• s.513
• /
• pp.40-45
• /
• 2012

인사동은 서울 도심의 한 복판, 그 중심(中心)에 있다. 조선시대 이래 중심이었으며 오늘날에도 중심성을 유지하고 있으며 전통문화적 공간을 표현하는 하나의 아이콘으로 사용되어지고 있다.

• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.25 no.3
• /
• pp.29-57
• /
• 2014

As one of various cultural heritages created by humanity, traditional architectures are an archival heritage and cultural heritage reflecting social trends and historical facts. These traditional architectures show various features depending on characteristics by local areas and climatic conditions. They can be expressed in diverse formats such as a picture, a floor plan, and a book. For managing and retrieving traditional architecture records, it is necessary to develop metadata schema based on the FRBR model. Accordingly, this study analyzes the current situation and the problem of domestic and foreign metadata schema related to cultural heritage, and proposes the FRBR-based metadata schema for managing the traditional architecture.

• Archives of design research
• /
• v.14 no.3
• /
• pp.135-144
• /
• 2001

What find the motive of new design from Korean traditional cultural inheritance and symbolize it visually is to create a new design of Korean style into the harmony of shape and aesthetics by harmonizing past design and modern one, to discover the value of the future, and to make a new traditional culture. This study is to find the motive of design from Korean traditional pattern and character of the twelve horary signs, to develop unique Korean style character by studying character to cause novel and refined sense and interest through the mix of traditional image and modern one, and to propose a plan to apply in various and practice the Korean style character to modern design. In addition, the purpose of this study is to discover the identity of Korean style from foreign culture by presenting identity and originality with our peculiar cultural elements as well as to develop the visual effect and character of traditional pattern, and to have national competitiveness with Korean style design from the world market of the future.

• Cross-Cultural Studies
• /
• v.50
• /
• pp.225-259
• /
• 2018

In this study, according to the Institut d'Estudis Catalan, it is noted that the traditional Catalan time telling system is essentially based on delineating time by the use of the 'quarts (=quarters)' of an hour. In this fasion, to tell the time 8:15, 8:30 and 8:45 they use '${\acute{E}}s$ un quart de nou.,' '$S{\acute{o}}n$ dos quarts de nou.,' and '$S{\acute{o}}n$ tres quarts de nou.,' but do not use constructions such as '$S{\acute{o}}n$ les vuit i quinze.,' '$S{\acute{o}}n$ les vuit i trenta/mitja.,' '$S{\acute{o}}n$ les vuit i quaranta-cinc.,' because these expressions are considered to be as dialectal variants or international notation-based variants. Moreover, the traditional Catalan time telling system does not use cardinal numbers, except in the case of 'cinc (five)' and 'deu (ten).' These linguistic phenomenon cause the invention of a unique Catalan digital watch, and has noted special designs for the creation of a Catalan analogue watch. For this reason, the quarter system in colloquial Catalan provokes an enormous interpretative ambiguity in daily routine expressions with 'quarts' like '$S{\acute{o}}n$ quarts of nou.' or 'entre dos i tres quarts' whose meaning is not delineated between sixteen and forty-four minutes. We will argue that the traditional Catalan time telling expressions do not have the use of the subtractive system, and the fraction word 'quart' lacks a specific meaning of fifteen minutes because the Catalan word 'quart' is etymologically related to the classical public bell system, not definitively to the traditional clock system.

• The Korean Publising Journal, Monthly
• /
• s.232
• /
• pp.20-21
• /
• 1998

우리 전통사회에도 '서치' '서음' '서벽'이라는 표현이 있다. 대부분 침식을 잊거나 가사를 돌보지 않는 '책벌레'의 선비다운 온화한 이야기들을 둘러싼 표현이다. 반면 유럽의 장서광들은 인피로 장정을 하는 등 엽기소설과 같은 소름끼치는 끔찍한 이야기들이 적지 않다.

• Korea Multimedia Society
• /
• v.8 no.1
• /
• pp.58-75
• /
• 2004

컴퓨터의 성능 향상과 인터넷 기술의 발달로 멀티미디어 분야에 대한 연구가 활발히 진행 중에 있다. 그 중 컴퓨터 그래픽스 기술을 이용한 3차원 표현이 핵심 분야로 부각되고 있다. 전통적인 모델 기반 그래픽스 기술은 그동안 실세계의 사실적인 표현에 목적을 두고 3차원 모델링 기술, 텍스춰 매핑 기술, 엘어리징 제거 기술, 완전 조명 모델 기술 등과 같은 연구를 진행하여 왔다.(중략)

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.3_4
• /
• pp.402-411
• /
• 2002

The objective of this study was to investigate sensibility images of Korean traditional motifs cognized by college students in U.S.A. The subjects consisted of 217 male and 351 female undergraduate students. The experimental materials used in this study were 48 stimuli and questionnaires, composed of 7-point semantic differential scales of 15 bipolar adjectives. Twelve motifs selected from 3 groups of Korean motifs were used as motif stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data were analyzed by factor analysis, ANOVA, Duncan's multiple range test. The major finding were as follows: 1. Four dimensions were emerged accounting for the dimensional structure of the images of Korean traditional motifs. These dimensions were ‘quality’, ‘simplicity’, ‘cheerfulnees’, and ‘modernity’. Among them, ‘quality’and ‘simplicity’were the major dimensions. 2. Category, interpretation type, composition type, and application object had significant effects on the images of above-mentioned dimensions. The interpretation type had a significant effect on ‘quality’image, the composition type on ‘cheerful’image, and the application object on ‘modernity’image.