• 한국과학교육학회지
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• 제38권2호
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• pp.161-170
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• 2018

과학자들은 연구 과정에서 다양한 시각적 표상을 다양한 방식으로 활용한다. 과학 교수 학습 과정에서도 시각적 표상은 과학 개념을 가르치거나 이해하기 위한 수단으로, 또 학생의 과학적 사고를 촉진하고, 탐구 능력을 증진시키기 위한 도구로 활용될 수 있다. 본 연구에서는 과학 교수 학습 과정에서 효과적인 시각적 표상 활용을 촉진하고, 체계적인 과학교육 연구의 기초를 제공하고자 하는 목적으로 시각적 표상능력의 교육목표 분류체계(visual representation competence taxonomy: VRC-T)를 개발하였다. VRC-T는 시각적 표상 유형과 인지 과정, 2개 차원으로 구성하였고, 선행 연구를 고찰하여 초기 모형을 개발한 뒤 교사 중심의 타당도 검토 결과, 전문가 중심의 타당도 검토 결과를 반영하여 최종 모형을 개발하였다. 최종 모형에서 시각적 표상 유형은 크게 '기술적 표상', '과정적 표상', '설명적 표상'으로 구분하였으며, 시각적 표상의 인지 과정은 크게 '해석하기', '통합하기', '구성하기'로 구분하였다. VRC-T의 타당화 과정과 각 세부 범주의 개요 및 예시를 설명하였고 가능한 활용 방안을 제안하였다.

• 인지과학
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• 제19권1호
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• pp.75-88
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• 2008

시각 장면은 중복적인 정보가 많이 포함되어 있다. 우리의 시각체계는 다양하고 중복적인 정보를 처리하기 위해 뇌 용적을 늘이기보다는 들어오는 외부 정보를 요약한다. 유사한 형태의 다양한 정보가 시각체계에 주어지면 시각체계는 정보의 통계적 특성을 추출해 낸다. 이런 통계적 표상의 대표적 형태가 바로 평균 표상이다. 평균 표상의 한 예로 시각 체계에서 계산해 내는 유사한 여러 크기들의 평균 크기를 들 수 있다. 평균 표상은 빠르고 정확하며 비교적 오랜 시간 지속되는 표상이고 평균 표상의 처리과정 또한 병렬적인 처리과정이다. 하지만 지금까지의 통계 표상에 관한 연구는 행동측정방법에 의한 연구였다. 따라서 본 연구는 기능적 자기 공명 영상 기법을 사용하여 통계 표상에 관한 신경기제를 찾고자 하였다. 사전 연구 결과들에 따르면 특정 자극을 연속하여 제시하였을 때 특정 자극을 담당하는 영역에서 자기 공명 영상 신호가 감소함을 알 수 있다. 본 연구에서는 이 반복 감소 현상을 사용하여 원들의 평균이 동일한 자극을 제시하였을 때 우측 후두 영역에서 유의미하게 자기 공명 영상 신호가 감소하는 것을 발견하였다. 이것은 우측 후두 영역이 시각자극에 대한 평균 표상을 처리하는 영역일 수 있음을 시사한다.

• 조형예술학연구
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• 제3권
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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.

• 한국실내디자인학회논문집
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• 제19호
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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.

• 인지과학
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• 제18권4호
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• pp.399-415
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• 2007

통상적인 시각 장면은 다수의 물체를 포함한다. 하지만 시각시스템이 동시에 처리할 수 있는 용량에는 한계가 있기 때문에, 시각 장면에 제시된 다수의 자극을 어떻게 처리할 것인지는 시각 체계의 매우 중요한 과제 중 하나이다. 선택적 주의와 통계표상은 이 문제를 해결하는 서로 다른 두 방법이다. 이 둘 간의 신경 기제를 밝히기 위해 fMRI를 사용하여 하나의 원에 주의를 주었을 때(초점주의)와 평균 크기 판단을 위해 모든 원에 주의를 주었을 때(분산주의) 억제적 상호작용의 변화를 조사하였다. 시각 영역 V4에서 무주의 조건에 비해 초점주의는 억제적 상호작용을 감소시킨 반면, 분산주의는 억제적 상호작용에 영향을 주지 않았다. 이 결과는 초점주의는 현재의 목적에 맞지 않는 자극을 여과하고 선택된 자극만을 편향되게 처리하지만, 분산주의는 다수의 자극에 대한 신경 반응을 각 자극에 대한 반응들의 평균값으로 수렴시켜 평균표상을 하게 한다는 것을 시사한다.

• 조형예술학연구
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• 제4권
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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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• 제9권1호
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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.

• 한국언어정보학회:학술대회논문집
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• 한국언어정보학회 2001년도 학술대회 논문집
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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.

• 한국실내디자인학회논문집
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• 제15권3호
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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.

• 한국실내디자인학회논문집
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• 제24권3호
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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.