• Journal of Korean Society for Geospatial Information Science
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• v.2 no.1 s.3
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• pp.73-80
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• 1994

Most terrain information have been generally acquired by map. Because the map presents the real terrain, not by real figure but by contours, geometric figures, symbols, texts, and colors, it is not easy to interpret the real terrain by map. For this reason, aerial photos or terrestrial photos also have been used sometimes in the terrain analysis. But photos have geometrical displacement caused by the position of camera at the exposition time and the relief of the object. So, for accurate posional analysis, orthophoto maps produced by optical rectifier have been used. But, it is hard to produce orthophoto map by optical rectifier and the process is so slow. This study aims to present an accurate and rapid method to produce orthophoto map by generating digital elevation model from stereo aerial photos on common computer using the digital photogrammetric technique and producing orthophoto map digitally using the digital elevation model.

• Communications of Mathematical Education
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• v.24 no.3
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• pp.503-523
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• 2010

The current mathematics curriculum are consist of the following domains: 'Characteristics', 'Objectives', 'Contents', 'Teaching and learning method', and 'Assessment'. The mathematics standards which students have to learn in the school are presented in the domain of 'Contents'. 'Contents' are consist of the following sub-domains: 'Number and Operation', 'Geometric Figures', 'Measures', 'Probability and Statistics', and 'Pattern and Problem-Solving' (Elementary School); 'Number and Operation', 'Geometry', 'Letter and Formula', 'Function', and 'Probability and Statistics' (Junior and Senior High School). These sub-domains of 'Contents' are dealing with mathematical subjects, except 'Problem-Solving' at the elementary school level. In this study, the sub-domain of 'mathematical process' was suggested in an equal position to the typical sub-domains of 'Contents'.

• Journal of Preventive Medicine and Public Health
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• v.42 no.6
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• pp.392-402
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• 2009

Objectives : The aims of this paper were to develop the composite deprivation index (CDI) for the sub-district (Eup-Myen-Dong) levels based on the theory of social exclusion and to explore the relationship between the CDI and the standardized mortality ratio (SMR). Methods : The paper calculated the age adjusted SMR and we included five dimensions of social exclusion for CDI; unemployment, poverty, housing, labor and social network. The proxy variables of the five dimensions were the proportion of unemployed males, the percent of recipients receiving National Basic Livelihood Security Act benefits, the proportion of households under the minimum housing standard, the proportion of people with a low social class and the proportion of single-parent household. All the variables were standardized using geometric transformation and then we summed up them for a single index. The paper utilized the 2004-2006 National Death Registry data, the 2003-2006 national residents' registration data, the 2005 Population Census data and the 2005-2006 means-tested benefit recipients' data. Results : The figures were 115.6, 105.8 and 105.1 for the CDI of metropolitan areas (big cities), middle size cities and rural areas, respectively. The distributional variation of the CDI was the highest in metropolitan areas (8.9 - 353.7) and the lowest was in the rural areas (26.8 - 209.7). The extent and relative differences of deprivation increased with urbanization. Compared to the Townsend and Carstairs index, the CDI better represented the characteristics of rural deprivation. The correlation with the SMR was statistically significant and the direction of the CDI effects on the SMR was in accordance with that of the previous studies. Conclusions : The study findings indicated mortality inequalities due to the difference in the CDI. Despite the attempt to improve deprivation measures, further research is warranted for the consensus development of a deprivation index.

• Archives of design research
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• v.17 no.1
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• pp.211-220
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• 2004

The Chaos theory of complexity and Fractal theory which became a prominent figure as a new paradigm of natural science should be understood not as whole, and not into separate elements of nature. Fractal Dimensions are used to measure the complexity of objects. We now have ways of measuring things that were traditionally meaningless or impossible to measure. They are capable of describing many irregularly shaped objects including man and nature. It is compatible method of application to express complexity of nature in the dimension of non-fixed number by placing our point of view to lean toward non-linear, diverse, endless time, and complexity when we look at our world. Fractal Dimension allows us to measure the complexity of an object. Having a wide application of fractal geometry and Chaos theory to the art field is the territory of imagination where art and science encounter each other and yet there has not been much research in this area. The formative word has been extracted in this study by analyzing objective data to grasp formative principle and geometric characteristic of (this)distinct figures of Fractals. With this form of research, it is not so much about fractal in mathematics, but the concept of self-similarity and recursiveness, randomness, devices expressed from unspeakable space, and the formative similarity to graphic design are focused in this study. The fractal figures have characteristics in which the structure doesn't change the nature of things of the figure even in the process if repeated infinitely many times, the limit of the process produces is fractal. Almost all fractals are at least partially self-similar. This means that a part of the fractal is identical to the entire fractal itself even if there is an enlargement to infinitesimal. This means any part has all the information to recompose as whole. Based on this scene, the research is intended to examine possibility of analysis of fractals in geometric characteristics in plasticity toward forms in graphic design. As a result, a beautiful proportion appears in graphic design with calculation of mathematic. It should be an appropriate equation to express nature since the fractal dimension allows us to measure the complexity of an object and the Fractla geometry should pick out high addition in value of peculiarity and characteristics in the complex of art and science. At the stage where the necessity of accepting this demand and adapting ourselves to the change is gathering strength is very significant in this research.

• Journal of Educational Research in Mathematics
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• v.9 no.1
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• pp.183-203
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• 1999

In this study, we analysed the constituents of proof and examined into the reasons why the students have trouble in learning the proof, and proposed directions for improving the teaming and teaching of proof. Through the reviews of the related literatures and the analyses of textbooks, the constituents of proof in the level of middle grades in our country are divided into two major categories 'Constituents related to the construction of reasoning' and 'Constituents related to the meaning of proof. 'The former includes the inference rules(simplification, conjunction, modus ponens, and hypothetical syllogism), symbolization, distinguishing between definition and property, use of the appropriate diagrams, application of the basic principles, variety and completeness in checking, reading and using the basic components of geometric figures to prove, translating symbols into literary compositions, disproof using counter example, and proof of equations. The latter includes the inferences, implication, separation of assumption and conclusion, distinguishing implication from equivalence, a theorem has no exceptions, necessity for proof of obvious propositions, and generality of proof. The results from three types of examinations; analysis of the textbooks, interview, writing test, are summarized as following. The hypothetical syllogism that builds the main structure of proofs is not taught in middle grades explicitly, so students have more difficulty in understanding other types of syllogisms than the AAA type of categorical syllogisms. Most of students do not distinguish definition from property well, so they find difficulty in symbolizing, separating assumption from conclusion, or use of the appropriate diagrams. The basic symbols and principles are taught in the first year of the middle school and students use them in proving theorems after about one year. That could be a cause that the students do not allow the exact names of the principles and can not apply correct principles. Textbooks do not describe clearly about counter example, but they contain some problems to solve only by using counter examples. Students have thought that one counter example is sufficient to disprove a false proposition, but in fact, they do not prefer to use it. Textbooks contain some problems to prove equations, A=B. Proving those equations, however, students do not perceive that writing equation A=B, the conclusion of the proof, in the first line and deforming the both sides of it are incorrect. Furthermore, students prefer it to developing A to B. Most of constituents related to the meaning of proof are mentioned very simply or never in textbooks, so many students do not know them. Especially, they accept the result of experiments or measurements as proof and prefer them to logical proof stated in textbooks.

• Archives of design research
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• v.19 no.2 s.64
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• pp.121-128
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• 2006

The elements to enhance preference in symbol design are mainly related to consumers' response and aesthetic elements. Because certain aesthetic elements in design affect consumers' response and it is actually presented through (the different level of) preference. This study through surveying case studies examines whether a certain aesthetic element in symbol design gives rise to much preference. According to the result of study, high preference in symbolic design depends on high level of Rhythm, Balance, Harmony, Elaboration, Round, Gestalt, Organic, and Artificial/Natural among aesthetic elements. In comparison, it is founded that Simplicity/complexity, Objective/Abstract, depth, and symmetry should be designed at the moderate level, and proportion, repetition of elements be at the low level. Additionally(or Besides) this study makes out that symbol design cases with high preference have shapes from natural material or patterns of traditional culture, while cases with low preference have shapes from geometric figures. On the basis of these results, a guideline of symbol design could De offered(or suggested) to fit preference of consumers. But, this study is mostly concerned with only affect among emotional reactions of consumer in a scope of study, and is considered only in the aspect of form excluding color and texture.

• Education of Primary School Mathematics
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• v.16 no.1
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• pp.57-70
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• 2013

This study is aimed to compare the area of geometry of elementary mathematics textbooks in korea and china. Through this study, we would like to suggest some guidelines in order to develop geometric curriculum and textbooks in korea and to search for more efficient methods of learning mathematics. For this, we have looked through the general characteristics of geometry domain in mathematics curriculums and the textbooks in korea and china. Furthermore, we have found the similarities and differences while comparing specific contents in the two countries. The followings are the conclusions of this study. First, The mathematics curriculum in korea is divided into 'figure' domain, but the one in china is divided into 'space and figure' domain, which deals with figure and measurement. And china constructs the contents of the basic figure as a whole unit. Second, korea gives clear learning aims about contents whereas china gives learning activities. Lastly, when starting teaching a plain figure, korea focuses on checking and finding definitions and characters through fundamental figures. However, china focuses on figuring out components and the relations among them throughout various plain figure activities.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.357-363
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• 2024

As AR display virtual technology enters public learning life extensively, the way in which reality and virtual connection are connected is also changing. The purpose of this paper is to study the expression between the 3D connection sensory information visualization experience and virtual reality enhancement through the visual direction sensory information visualization experience of the plane. It is analyzed by examining the basic setting method compared to the current application of AR display and flat visualization cases. The scope of this paper is to enable users to have a better experience through the relationship with sensory visualization, centering on eye tracking technology in the four categories of AR display connection design: gesture connection, eye tracking, voice connection, and sensor. Focusing on eye tracking technology through AR display interaction and current application and comparative analysis of flat visualization cases, the geometric consistency of visual figures, light and color consistency, combination of multi-sensory interaction methods, rational content display, and smart push presented sensory visualization in virtual reality more realistically and conveniently, providing a simple and convenient sensory visualization experience to the audience.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.