• The Journal of Art Theory & Practice
• /
• no.16
• /
• pp.225-256
• /
• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.10 no.3
• /
• pp.147-159
• /
• 2015

One of the most important factors for the consumers to select a coffee shop is a visual factor. The analysis results of interior pale face image of the coffee house doesn't show significant differences on all the categories. It is recognized that the items affected by symbolized color are supplies and interior design. If a respondent choose a coffee house by the symbolized color, 'Starbucks' is the most memorable or want to visit place, and only one category, pocket money shows significant difference in choosing coffee houses. The investigation results say that the most memorable or want to visit coffee house by the visual icon color are 'Starbucks', 'Angelinus' and 'Caffebene', and that 'Ediya's icon color marks the characteristics of the shop very well, and 'Hollys' has the most characterful color. Resultingly, visual elements and icon colors of the shop seriously affect consumer's choice in visiting a coffee house. This study is to understand the influence of visual elements in choosing a coffee house for general customers, and it is considered that the importance of visual elements and color marketing must be recognized and developed.

• Journal of Korea Multimedia Society
• /
• v.9 no.2
• /
• pp.139-150
• /
• 2006

A schematic map is a special purpose map which is generated to recognize it's objects easily and conveniently via simplifying and highlighting logical geometric information of a map. To manufacture the schematic map with road, label and icon, we must generate simplified route map and replace many geometric objects. Performing a give task, however, there are an amount of overlap areas between geometric objects whenever we process the replacement of geometry objects. Therefore we need replacing geometric objects without overlap. But this work requires much computational resources, because of the high complexity of the original geometry map. We propose the schematic map generation system whose map consists of icons and label. The proposed system has following steps: 1) eliminating kinks that are least relevant to the shape of polygonal curve using DCE(Discrete Curve Evolution) method. 2) making an evenly distributed route using CVT(Centroidal Voronoi Tessellation) and Grid snapping method. Therefore we can keep the structural information of the route map from CVT method. 3) replacing an icon and label information with collision avoidance algorithm. As a result, we can replace the vertices with a uniform distance and guarantee the available spaces for the replacement of icons and labels. We can also minimize the overlap between icons and labels and obtain more schematized map.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.419-449
• /
• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2004.05a
• /
• pp.172-173
• /
• 2004

• Proceedings of the Korean Society for Information Management Conference
• /
• 1996.08a
• /
• pp.27-30
• /
• 1996

문자에의한 화상정보탐색 인터페이스는 정보로서 화상이 갖는 독특한 특성과 탐색어로서 문자가 갖는 제약점 때문에 이용자의 요구를 충분히 만족시키지못하고 있다. 이에대한 대안으로서 아이콘에의한 화상정보탐색기법을 시도하였고 아이콘인터페이스의 설계원칙과 방법을 고찰하였다.

• International Journal of Costume and Fashion
• /
• v.1
• /
• pp.223-241
• /
• 2001

• Proceedings of the Korean Information Science Society Conference
• /
• 2003.10c
• /
• pp.580-582
• /
• 2003

본 논문에서는 인터넷 환경의 발전으로 인한 휴대폰 및 PDA등의 문자 입력이 느린 단말기를 위하여 기존의 문자열로 되어 있는 DNS와 현재 개발 및 상용화가 이루어 지고 있는 화상인식 URI서비스를 분석하여 보고 기존의 화상인식 URI가 가지고 있는 문제점인 DNS와의 호환을 통하여 적합한 화상인식 URI와 서비스 환경을 제시한다.

• Design & Manufacturing
• /
• v.6 no.2
• /
• pp.59-63
• /
• 2012

In various industries, tactile recognition has been one of the important ways in displaying information because peoples like to touch and feel. Especially, how much the tactile information is efficiently recognizable is crucial for visually impaired persons in their daily lifes. However, existing design guidelines are insufficient to lead good tactile recognition. In this study, an experiment was performed to investigate proper tactile shapes (relievo / intaglio vs. filled / unfilled), sizes and depths for efficient tactile recognition. Moreover, this study scrutinized whether the recognition speed or error was varied depending on the type of displayed symbols (open vs. closed types) in tactile. The experimental results revealed that the 'relieve-filled' shape type was more rapidly recognizable than the other shapes, and the 'closed' type symbols (e.g., ${\square }$. ${\bigcirc}$) were more robustly recognizable than the 'open' type symbols (e.g, +, ^). Several design guidelines were presented based on the results. These guidelines can be applied to the design of tactile buttons in the devices that users should control them without visual attention, such as car steering wheels or MP3 players.

• Journal of the Korean Society for information Management
• /
• v.21 no.4 s.54
• /
• pp.315-327
• /
• 2004

The study examined 131 icons that appeared in major Web sites for the use of children. Out of 131 icons, 66 icons were selected as core icons by calculating the number of their occurrence in the same category. The 66 icons were examined to find out whether they meet the evaluation criteria. And also 66 icons were presented to the children to find out whether they immediately recognize the meaning of each icons. Finally, the study investigated to find out the correlations between the results of evaluations by criteria and the results of the children's recognitions of meaning of each icons. As a results of the study, it presented 16 icons that were proved to be appropriate for the use of children.