• Journal of The Korean Association For Science Education
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• v.38 no.2
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• pp.161-170
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• 2018

Various forms of visual representations enable scientific discovery and scientific reasoning when scientists conduct research. Similarly, in science education, visual representations are important as a means to promote students' understanding of science concepts and scientific thinking skills. To provide a framework that could facilitate the effective use of visual representations in science classroom and systemic science education research, a visual representation competence taxonomy (VRC-T) was developed in this study. VRC-T includes two dimensions: the type of visual representation, and the cognitive process of visual representation. The initial categories for each dimension were developed based on literature review. Then validation and revision was made by conducting teachers' workshop and survey to experts. The types of visual representations were grouped into 3 categories (descriptive, procedural, and explanative representations) and the cognitive processes were grouped into 3 categories (interpretation, integration, and construction). The sub categories of each dimension and the validation process would be explained in detail.

• Korean Journal of Cognitive Science
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• v.19 no.1
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• pp.75-88
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• 2008

Visual scene contains lots of redundant information. To process this redundant information without increasing brain's volume, human visual system may summarize incoming information. If similar but different information are given to visual system, visual system extracts statistical properties of the information. One example of the statistical representation is representation of mean size. The mean representation is accurate and durable. The process of mean representation is suggested to be parallel. However, previous studies on the mean representation mostly used behavioral methods. The purpose of this study was to investigate which neural regions extracted the mean size of a set of circles using fMRI method. According to previous studies, BOLD signal of certain areas that were in charge of cousin stimuli decreased when the same stimuli presented repetitively. We used this paradigm and found that BOLD signal of right occipital area was decreased when same mean site was presented repeatedly. This results suggest that right occipital area is the locus of mean representation of visual stimuli.

• Journal of Science of Art and Design
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• v.3
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• pp.225-247
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• 2001

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.

• Korean Institute of Interior Design Journal
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• no.19
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• pp.53-58
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• 1999

The goal of this paper is to understand the visual information process and the characteristics of behaviour of the architectural design process using visual protocol analysis through the actual experiment by the architect. The visual protocol analysis is developed on the basis of the theories of the visual information processing model and visual mental image, which can explain visual representation in architectural design process. A protocol study is reported in which the experimental data by architect is analyzed through the protocol analysis method. The whole design process is divided into the stage of 9 tasks which are classified into 18 visual representatiov. The results about visual cognition in cognitive science are reviewed and summarized, and these findings will help understand the architectural design nature.

• Korean Journal of Cognitive Science
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• v.18 no.4
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• pp.399-415
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• 2007

Many objects are always present in a visual scene. Since the visual system has limited capacity to process multiple stimuli at a time, how to cope with this informational overload is one of the important problems to solve in visual perception. This study investigated the suppressive interactions among multiple stimuli when attention was directed to either one of the stimuli or all of them. The results indicate that suppressive interactions among multiple circles were reduced in V4 when subjects paid attention to one of the four locations, as compared to the unattended condition. However, suppressive interactions were not reduced when they paid attention to all four items as a set, in order to compute their mean size. These results suggest that whereas focused attention serves to later out irrelevant information, distributed attention provides an average representation of multiple stimuli.

• Journal of Science of Art and Design
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• v.4
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• pp.67-90
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• 2002

What is the semantic function of visual image in Contemporary art? This article proposes that representation is semantically still important in post-modernism as well as in modernism. The semantic function of representation has been changed by keeping pace with times. In modernism the 'outer representation' changed to 'inner representation', and in postmodernism the 'inner representation' changed to 'metaphorical representation'. The 'outer representation' means that image indicates a certain object or subject as the classical realism. In this case, the meaning of image is subordinate to an object, and a one-to-one correspond existed between the image and the object. Because this 'outer representation' is focused on an object but subject's intention, the indicative function of meaning is definite and singular. The 'inner representation' means that image exposes the fundamentals or process of an object. In this case, the meaning of image resolves itself into an absolute fundamental, and one-to-many correspond existed between the image and the object. Because this 'inner representation' is focused on essence and substance but an external form, the indicative function of meaning is inclusive and general. The 'metaphorical representation' means that image critically relates social constraint and condition as metaphor and allegory. In this case, the meaning of image is not subordinate to an object and a subject, and the image and the object indicate interactively. Because this 'metaphorical representation' is focused on interaction between subject, object, and interpreter, the indicative function of meaning is differant and ecological. This article focused on the representation because I believe that continuous thinking of totality can be opened by cognitive mapping, even though we never understand the world totally in the chaotic post modern age.

• Asia pacific journal of information systems
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• v.9 no.1
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• pp.193-209
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• 1999

Developing Information Systems is a process of decomposing the entire systems into sub systems and identifying a hierarchical structure among the sub systems. Diagrammatic representation of hierarchy is an essential part of systems development since the identified hierarchical structures are usually presented in diagrams. The main goal of this research is to identify the most effective ways of representing system structures using diagrams. In order to achieve the main goal, this study performed three phases of research. In the first step, a theoretical model was constructed to conceptually explain users' comprehension on diagrams. Then visual factors of diagrammatic representations were identified based on the diagrams used in systems development. Finally, three consecutive experiments were conducted to identify the impacts of visual factors on the level of users' comprehension. The results indicate that familiarity and affordance of diagrams affect the degree of comprehension about the diagrams, which is in turn influenced by the complexity of tasks and the types of hierarchies. This paper concludes with the limitations of the study results and implications in the development of information systems.

• Proceedings of the Korean Society for Language and Information Conference
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• 2001.06a
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• pp.237-257
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• 2001

This paper investigates the idiosyncratic understanding of universal quantifiers such as every, each or all by young children at the ages of 4 to 7, and argues that the phenomenon is explicable in terms of the maturation of both the cognitive system and the linguistic system. Evidence for this dual explanation comes from the fact that the visual input, a picture, plays a key role in determining the children’s conceptual representation, suggesting the need for the central integration of visual and linguistic elements; and from the fact that a quantifier in the linguistic input has an intrinsic property, i.e. a <+focus> feature. I have tried to explain the nature of the cognitive factors in terms of the function of the central system, suggesting a modified form of Smith & Tsimpli’s (1995) version of Fodor’s (1983) modularity hypothesis. Conceptual representations of two kinds are in competition with each other and they are integrated into a neutral LOT (Language of Thought) representation at some point . In the process of this integration, the representations from the visual input predominate over those from the auditory input, though the quantize. (treated as new information provided by the latter) is salient in the final representations. When visual conceptual representations predominate over purely linguistic ones, quantifier spreading errors occur. By contrast, when the relevant grammatical knowledge has developed sufficiently to counteract the conceptual representations, this peculiar behaviour by children should disappear. It is argued that children have to learn two kinds of grammatical fact with regard to universal quantification: (i) they have to learn the status of the quantifier as a functional head of DP so that it has to be positioned inside DP; and (ii) they have to learn the Left-Branch Condition which specifies that movement of an element in the left-branch position is possible only by pied-piping the entire phrase.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.193-200
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• 2006

Any design process is interwoven with numerous intermediate design representations and information. On the other hand, designers proceed the design through various activities. It has always been a difficult task to model the design process, yet there are many significant research outputs that explain the design process through the cognitive approaches. This research started from the necessity of an interactive system which externalize the elements of design process in a visual or tangible manner. In order to do so, a design model, specifically a design process representation model was necessary to capture and represent design process. Several concepts such as design issue, design concept, and design form were defined through the empirical studies of design practices. The assumption is that the design process can be effectively captured by the presented system and it can help both designers and tutors review and analyze the design process. It should also help novice designers learn from expert designer's design process patterns. The system represents design process pattern in a interactive graphic environment. It also provides various useful features to enhance the analysis of design process. This paper presents theoretical groundwork and development process of the design process visualizer. The representation model is presented, and the application of the system is reviewed. Discussions on the further development directions include critical evaluation of the system.

• Korean Institute of Interior Design Journal
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• v.24 no.3
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• pp.30-37
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• 2015

The target of design is a harmony between Beauty and Usefulness. Design is a result from representation of visual language by designer's creative thinking system. also, As an ill-defined problem cannot be described completely. and subjectively interpret depend on the situation, it is very difficult to present a theoretical standard. There have been many Design Sciences researches in recent years. such as Rule Based Design, Parametric Design, Replacement Design, Analogy Design, Metaphor Design, Genetic Algorithm. but Objective research is still unsatisfactory condition to investigate true nature about Design. At this point, It is very important to formulating about meaning of Design Language and Thinking. This study will define about that, and based on this definition, Lay out a logical basis for Treatment design variable and materialization of process by "Elements", "Relationship", "Schema". ultimately it look forward to provide a framework and minimize the complexity about Design Thinking.