• Science of Emotion and Sensibility
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• v.20 no.4
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• pp.127-134
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• 2017

Color is a significant factor for evoking human emotion. Therefore, the effects of color have been analyzed to predict and evaluate human emotion. The purpose of this study was to measure the cardiovascular responses depending on color stimuli in order to observe differences in color-emotions. Images consisting of six colors (red, green, blue, cyan, magenta, yellow) were used as visual stimuli. 26 college or graduate students (13 males) watched the color stimuli on the monitor and scored their subjective emotion while electrocardiogram (ECG) was meausred. The effects of the color on emotion were tested using Kruskal-Wallis test and Mann-Whitney U test. The coherence ratio showed significant differences between green and magenta (p = .004), green and red (p = .006), and green and yellow (p = .004). The significant differences of cardiovascular and emotions were relevant to emotional valence. This study shows significance as an empirical study by indicating that green induces pleasant and red induces unpleasant.

• Journal of The Korean Association For Science Education
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• v.38 no.3
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• pp.305-317
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• 2018

In this study, we investigated the characteristics of participant students' modeling with the blackbox simulation program and epistemic criteria. For this research, we developed a blackbox simulation program, which is an ill-structured problem situation reflecting the scientific practice. This simulation program is applied in the activities. 23 groups, 89 second year students of an education college participated in this activity. They visualized, modeled, modified, and evaluated their thoughts on internal structure in the blackbox. All of students' activities were recorded and analyzed. As a result, the students' models in blackbox activities were categorized into four types considering their form and function. Model evaluation occurred in group model selection. Epistemic criteria such as empirical coherence, comprehensiveness, analogy, simplicity, and implementation were adapted in model evaluation. The educational implications discussed above are as follows: First, the blackbox simulation activities in which the students participated in this study have educational implications in that they provide a context in which the nature of scientific practice can be experienced explicitly and implicitly by constructing and testing models. Second, from the beginning of the activity, epistemic criteria such as empirical coherence, comprehensiveness, analogy, simplicity, and implementation were not strictly adapted and dynamically flexibly adapted according to the context. Third, the study of epistemic criteria in various contexts as well as in the context of this study will broaden the horizon of understanding the nature of scientific practice. Simulation activity, which is the context of this study, can lead to research related to computational thinking that will be more important in future society. We expect to be able to lead more discussions by furthering this study by elaborating and systematizing its context and method.

• The Korean Journal of Applied Statistics
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• v.23 no.6
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• pp.997-1021
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• 2010

This paper compares the two most widely used seasonal adjustment methods: the X-12-ARIMA and TRAMO-SEATS procedures. The basic features of these methods are discussed and compared in both their theoretical and empirical aspects. In doing so, the X-13A-S program is used to reevaluate their applicability to Korean macroeconomic data by considering possible structural breaks in the series. The finding is that both methods provide very reliable and stable estimates of seasonal factors and seasonally adjusted data. As for the empirical comparisons, TRAMO-SEATS appears to outperform X-12-ARIMA, although the results are somewhat mixed depending on the comparison criteria used and on the series under analysis. In particular, the performance of TRAMO-SEATS turns out to compare more favorably when seasonal adjustment is carried out to each sub-samples (by taking possible structural breaks into account) than when the whole sample period is used. The result suggests that as the model-based TRAMO-SEATS has a considerable theoretical appeal, some features of TRAMO-SEATS should further be incorporated into X-12-ARIMA until a standard and integrated procedure is reached by combining the theoretical coherence of TRAMO-SEATS and the empirical usefulness of X-12-ARIMA.

• KIISE Transactions on Computing Practices
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• v.24 no.3
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• pp.138-144
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• 2018

A video is a vivid medium similar to human's visual-linguistic experiences, since it can inculcate a sequence of situations, actions or dialogues that can be told as a story. In this study, we propose story learning/regeneration frameworks from videos with successive event order supervision for contextual coherence. The supervision induces each episode to have a form of trajectory in the latent space, which constructs a composite representation of ordering and semantics. In this study, we incorporated the use of kids videos as a training data. Some of the advantages associated with the kids videos include omnibus style, simple/explicit storyline in short, chronological narrative order, and relatively limited number of characters and spatial environments. We build the encoder-decoder structure with successive event order embedding, and train bi-directional LSTMs as sequence models considering multi-step sequence prediction. Using a series of approximately 200 episodes of kids videos named 'Pororo the Little Penguin', we give empirical results for story regeneration tasks and SEOE. In addition, each episode shows a trajectory-like shape on the latent space of the model, which gives the geometric information for the sequence models.

• Journal of The Korean Association For Science Education
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• v.28 no.6
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• pp.649-663
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• 2008

The purpose of this study was to compare the processes of making hypotheses concerning the anomalous path of Wukong, a typhoon that came close to Korea recently, between an earth scientist and undergraduate students. Data were obtained through interviews with a practicing earth scientist as well as five undergraduate students. Inquiry reports of the students were also analysed. The result showed that while the earth scientist conducted a case study with already-established models of typhoon, the students were enabled to work on the specific case of Wukong only after they learned general theories on typhoons. Background knowledge played an important role for the scientist and students to formulate scientific hypotheses. Both the earth scientist and undergraduate students generate multiple working hypotheses, and they considered a couple of conditions to select more plausible hypotheses, including theoretical coherence, causative processes, and consistency with empirical data. Despite these similarities, there were differences in the scope and depth of background knowledge between the scientist and students. In addition, it was not likely that the undergraduate students possessed explicit perceptions of the conditions which could make a hypothesis more probable, except for the empirical consistency. Implications for science education and relevant research were discussed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.