• Journal of Digital Convergence
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• 제17권4호
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• pp.285-290
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• 2019

This study is a study on the methodology and possibility of making more creative 'Zentangle Art' works through the effective convergence of digital art during the process of Zentangle Art' which draws patterns using writing instruments such as analog pencils and pens to be. In particular, we studied the convergence of traditional pattern and 'Zentangle Art' by applying the method of making using digital author's authoring tool and the pattern symbol of Korean traditional pattern. And It was studied and analyzed in terms of semiotics. In the future, I intend to study the psychological phenomenon and characteristics of the artist during the production of the works. Later, Zentangle artists and researchers will be presenting the continuing direction of content creation and industrial value.

• International Journal of Internet, Broadcasting and Communication
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• 제15권1호
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• pp.120-125
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• 2023

According to whether language symbols are used to solve puzzles, puzzle games can be roughly divided into puzzle games with language symbols and puzzle games without language symbols. Puzzles games with language symbols can be subdivided into dialogue puzzles games and word puzzles games. These different puzzle-solving methods have different characteristics and have different effects on the empathy in the game. In horizontal scrolling games, due to the characteristics of the third-person perspective of horizontal scrolling games, there is always a 'fourth wall' between the player and the controlled character, making it difficult for players to gain a empathy when playing such games .Especially when there is a dialogue between a player-controlled character and an NPC, the sense of distance between the player and the character will be further amplified. As one of the most common game types in side-scrolling games, side-scrolling puzzle games can be divided into language symbols-based puzzle game and non-language symbols-based puzzle game according to whether language symbols are used to solve puzzles, and then promote the development of the game plot. We combine the characteristics of horizontal scrolling games, and analyze the influence of language symbols on empathy in puzzle-solving games by summarizing the game characteristics of two different puzzle-solving methods. The results show that in horizontal scrolling puzzle games, solving puzzles without using language symbols can better expand the player's sense of plot substitution.

• The Journal of Art Theory & Practice
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• The Journal of the Korea Contents Association
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• 제20권10호
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• pp.738-749
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• 2020

The stamp commemorating the inauguration of a president is the smallest historical symbol that contains a nation's vision and wishes of the times. The stamp itself is just a collection of images but contains the meaning of the highest leader's perceived image at the time through their face and a symbol. This paper regarded presidential inauguration commemorative stamps in the context of advertisement or promotional materials to structurally analyze the images of the political leaders embedded in stamps utilizing 'semiology' theory, which is considered to be a useful method of advertisement. In accordance with social and cultural changes, the 2000s, when the changes in the presidential inauguration stamp was most distinctively noticeable, was set as the time frame. Only the presidential inauguration commemorative stamps of Moo-hyun Roh, Myung-bak Lee, Geun-hye Park, and Jae-in Moon were selected for this study. In order to interpret the image, a semiotic structure was applied to reconstruct the meaning of the image of the political leaders. Since this can lead to subjective judgment in image analysis, it attempted to find the truth through comprehensive interpretation and approach it from the social and cultural contexts, not a static approach. In this paper, the images of the Korean political leaders in the 2000s shown on stamps are no longer influenced by traditional political factors such as political parties, political ideologies, and regional origins due to the evolution of democracy. This study derives the characteristics of the images of independent and characteristic leaders centered on a person according to the situations and social phenomena of the times.

• Journal of Korea Society of Digital Industry and Information Management
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• 제9권3호
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• pp.129-144
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• 2013

Recognizing a limits on quantitative evaluation of cultural contents' and for its betterment, study aims developing a qualitative evaluation model. For this study, Reception Theory, Semiotics and Psychology were derived for epistemological dimension to contemplate culture contents' essential attribute. To be concrete, cultural contents was examined as experiential products, emotional products, rememberable products and texts. Also, codes of fun, emotion and culture were discussed as intrinsic attributes for cultural contents and how those attributes were expressed or composed in cultural contents was discussed as well. Evaluation items were extracted based on final discussion at the epistemic level, set up the final evaluation model by taking experts' advices on each items. With all those outcomes, qualitative evaluation model for cultural contents was developed. For the importance of each index in the model, priority was granted by weighting on each index. Lastly, evaluation scale was developed for each index. The culture contents' evaluation model developed in study is meaningful not only in drawing qualitative evaluation items of video(image) contents and developing the index and model for the first time, but also its possibility of wide use for other genres.

• Korean Institute of Interior Design Journal
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• 제20권3호
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• pp.80-88
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• 2011

The concept of the modern consumption is not limited to the value of use by mere purchasing and using of the products. The consumers in modern capitalistic society, consumes the semiotic value whose meaning is socially granted, as well as the value for using. Therefore, that tendency that the symbolic sign of the products is consumed to differentiate oneself from the others and express oneself appears. The designed hotel that reflects the features of sign consumption in the modern society and where the discriminate experience can be enjoyed through the unique and diversified design expression is drawing our attention. Therefore, in this paper, based on the theoretical consideration of semiotics, the tendency of sign consumption and its feature appearing in the modem society has been studied. And through the case studies of the hotels which have been built since the 2000s, how such features can be expressed in the space has been studied. As a result of the study, as for the features of expression of modern semiotic consumption society shown in the design hotels, the diversity breaking from the uniformity by the diversified thinking, the hybrid attribute, and the attribute of the differentiated entertaining images, based on hedonism, the inherent symbols and narrative attribute, and the flexible interactions through the experience of emotional consumption, are appearing.

• Journal of the Korean Institute of Landscape Architecture
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• 제19권3호
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• pp.55-71
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• 1991

The purpose of this thesis is to suggest objective basic data for the environmental design through the quantitative analysis of the visual quality included in the physical environment of Basemsagol valley sequence landscape. For this, visual volumes of physical elements have been evaluated by using the mesh analysis, spatial images structure of physical elements have been analyzed by factor analysis algorithm, and degree of visual quality have been measured mainly by questionnaires. Also, this study aims to understand semiotics and to grope the possibility of application to the sequence landscape assessment. A semiological approach suggests a new dimension in sequence landscape assessment, which is a contrast to the existing scientific evaluation methods. Result of this thesis can be summarized as follows. Visual volumes of the immediate vegetation, rock, bridge, road and distant vegetation are found to be the main factor determining the visual quality. Factors covering the spatial image of natural park sequence landscape have been found to be the overall synthetic evaluation, potentiality, natural quality, spatial, appeal and dignity. By using the control method for the number of factors, T.V. has been obtained as 40.22%. The characteristics of the semiological approach is qualitative, open, holistic, and experiential, whereas that of the scientific approach is quantitative, closed, reductive, and experimental.

• Journal of Digital Convergence
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• 제7권3호
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• pp.137-146
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• 2009

This paper aims to propose a framework of content creating group with creativity under new convergence environments. The framework is built based on content concept hierarchy(deep/surface) relating with the creativity of group members. The diversity of group members(potential creativity) decrease and change into creative abilities in one unified view at each content concept hierarchy in time. To do this, three methods of building a creative group(interaction-base, direction-base, hybrid) are proposed. Cooperating processes and operators are designed to promote creative abilities in the content producing group. These cooperations are considering new media convergence industry's job road map(IPTV) and fundamental content attributes(semantic, narrative, discourse). In the framework, creative content is produced with the help of member's cultural openness, media richness and synchronicity, hierachical adaptability on dissimilarity. Deep level creativity of cognitive semiotics on moving image content is composed of psychological, transformational, situational creating abilities in the structure of group members. Designing analogy, metaphor, symbol operators help members to traverse deep structure of content concept hierarchy. Our framework has strong points to relate fundamental content deep structure with structure of content producing group and to induce creativity on cognitive structure of human being.

• Korean Institute of Interior Design Journal
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• 제21권6호
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• pp.147-157
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• 2012

This paper aims to examine the fundamental relationship of what principles cause the aesthetic shapes in Korean sarangbang furniture of the $19^{th}$ century. Focusing on the Greimas' isotopic and semantic structure analysis, this research analyzed the traditional Korean men's furniture in four steps; signifier analysis, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results show that the expressive qualities of sarangbang furniture included visual symmetric aesthetics, and the hues of natural materials with dark tones. The manufacturing process emphasized the characteristics of natural materials; while diversity was respected in decorations, function as restrained form was also important with a concise image. Through these characteristics, sarangbang furniture revealed a balance, a harmony of contrastive elements, and a restrained aesthetics. Within these qualities, it was seen that aesthetic principles, such as "severance and communication," "artifice and nature," "restraint and manifestation," "toughness and softness," "filling and emptying" and "decoration and utility" were in a mutually supplementary relationship. At the basis of this aesthetic thought appears to be Confucianism, which had been the model for seonbi politics and scholarship.

• 기호학연구
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• 제57호
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• pp.59-90
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• 2018

This paper examines the discussions related to image and signification through the theories of Roland Barthes. We have already been able to see through the studies of Semiotics and Anne H?nault that the denotation is distinguished from the connotation in the linguistic dimension. Through the analysis of the advertising image of Barthes, we have seen that the syntagmatic relationship can make the sense of the image objective. From this study, we also emphasized that it is possible to subjectively interpret images that deviate from the syntagmatic relationship. In addition, we examined the concepts of Studium and Punctum by Barthes. With this we have found that the definition of a personal meaning to objects has a theoretically clear position. Finally, we have been able to understand the concept of 'le sens obtus' through the article ${\ll}$ Le troisi?me sens ${\gg}$. The notion of 'sens obtus' makes it possible to realize that the objective and clear sense of object is not the one chosen primarily from the subject. By facing an object such as an image to be interpreted, the subject is placed in a situation where he is not compelled to choose a meaning but rather he chooses one of the possible senses. This makes it clear that the semantic levels provided by semiotic theories are limited to the analytic dimension.