• Journal of the Korean Chemical Society
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• v.55 no.5
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• pp.846-856
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• 2011

In this study, we analyzed the characteristics of imagery thinking in the processes of generating analogy of seventh grade science-gifted students in terms of the information-processing of imagery. The analyses of the results revealed that science-gifted students' information-processing of imagery in the processes of generating analogy consisted of image generation, image operation, and image representation. The types of imagery used by science-gifted students were classified into perception imagery, memory imagery, and imagination imagery, and there were some differences in the patterns of information-processing of imagery. In the bases of these results, we suggested the information-processing model of imagery by the types of imagery used in generating analogy. The results of this study may provide useful implication to develop effective methods for a strategy of generating analogy emphasizing the interaction between analogy thinking and imagery thinking which promotes imagery thinking of science-gifted students.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.130-137
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• 2013

This study tries to investigate the relationship between physical perception and creative thinking of dancers by dance imagery training programs. The inner imagery and the external expression of dancers are a divergent expression process of autosuggestion, and substantiate the relationship between physical perception and creative thinking. The key point consists in the active thinking process of problem recognition and problem solving by imagination, and means a new perceptivity and the communication capability. Dance imagery is a perception training based on the integration principle of body and soul, and so dancers should create a new approach of communication through the diversity of wide inner imagination and the active thinking of external expression.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1255-1279
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• 2010

Much has already been learned about what goes on in the minds of second language writers as they compose, yet, oddly enough, until recently little in the L2 research literature has addressed writing and mental imagery together. However, images and imaging (visual thinking) play a crucial role in perception (the basis of mental imagery), in turn, affecting language, thinking, and writing. Many theorists of mental imagery also agree that more than just language accounts for how we think and that imagery is at least as crucial as language. All of these demands, to be sure, are compounded for EFL students, which is why I investigate EFL students' writing process, focusing on the use of mental imagery and its relationship to the writing. First I speculate upon some ways that imagery influences EFL students' composing processes and products. Next, I want to explore how and whether the images in a writer's mind can be shaped effectively into a linear piece of written English in one's writing. I studied two university undergraduate EFL students, L and J. They had fairly advanced levels of English proficiency and exhibited high level of writing ability, as measured by TOEFL iBT Test. Each student wrote two comparison and contrast essays: one written under specified time limitations and the other written without the pressure of time. In order to investigate whether the amount of time in itself causes differences within an individual in imagery ability, the students were placed under strict time constraints for Topic 1. But for Topic 2, they were encouraged to take as much time as necessary to complete this essay. Immediately after completing their essays, I conducted face-to-face retrospective interviews with students to prompt them for information about the role of imagery as they write. Both L and J have spent more time on their second (untimed) essays. Without time constraint, they produced longer texts on untimed essay (149 vs. 170; 186 vs 284 words). However, despite a relatively long period of time spent writing an essay, these students neither described their images nor detailed them in their essays. Although their mental imagery generated an explosion of ideas for their writings, most visual thinking must merely be a means toward an end-pictures that writers spent in purchasing the right words or ideas.

• The Mathematical Education
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• v.52 no.1
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• pp.19-41
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• 2013

What is the foundation of mathematical thinking? Is it logic based symbolic language system? or does it rely more on mental imagery and visuo-spatial abilities? What kind of neural changes happen if someone's mathematical abilities improve through practice? To answer these questions, basic cognitive processes including long term memory, working memory, visuo-spatial perception, number processes are considered through neuropsychological outcomes. Neuronal changes following development and practices are inspected and we can show there are neural networks critical for the mathematical thinking and development: prefrontal-anterior cingulate-parietal network. Through these inquiry, we can infer the answer to our question.

• Journal of Korea Multimedia Society
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• v.25 no.10
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• pp.1457-1467
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• 2022

The relationship between film and culture is established through a shared focus on people's lives. Culture changes at different times, which makes a dynamic and complex relationship between film and culture. Understanding this relationship helps to provide better support for current filmmaking. The purpose of this study is to provide insights into the macro issue of film and culture by exploring the relationship between film theme and culture concept. To this end, we used a case study to explore the connection between themes and culture concepts in Disney's Mulan (1998, 2020) through literature and analyses of culture concepts (Chinese "imagery" and Postmodernism). The study concludes that, "Culture assemblage" and "Vision is king" have become cultural trends that influence the creation of film theme and style to a certain extent; how to balance the relationship between the core idea of film theme and the external forms is an important issue in current filmmaking. The article contributes to promote thinking about culture in film creation, and its research perspective on different cultures and histories is innovative.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Dementia and Neurocognitive Disorders
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• v.16 no.2
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• pp.48-53
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• 2017

Background and Purpose Torrance Tests of Creative Thinking (TTCT) is a well-known and commonly used measure of creativity. However, the TTCT-induced creative hemodynamic brain activity is rarely revealed. The purpose of this study is to elucidate the neural correlates of creative thinking in the setting of a modified version of the figural TTCT adapted for an functional magnetic resonance imaging (fMRI) experiment. Methods We designed a blocked fMRI experiment. Twenty-five participants (11 males, 14 females, mean age $19.9{\pm}1.8$) were asked to complete the partially presented line drawing of the figural TTCT (creative drawing imagery; creative). As a control condition, subjects were asked to keep tracking the line on the screen (line tracking; control). Results Compared to the control condition, creative condition revealed greater activation in the distributed and bilateral brain regions including the left anterior cingulate, bilateral frontal, parietal, temporal and occipital regions as shown in the previous creativity studies. Conclusions The present revealed the neural basis underlying the figural TTCT using fMRI, providing an evidence of brain areas encompassing the figural TTCT. Considering the significance of a creativity test for dementia patients, the neural correlates of TTCT elucidated by this study may be valuable to evaluate the brain function of patients in the clinical field.

• 제어로봇시스템학회:학술대회논문집
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• 1993.10b
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• pp.265-270
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• 1993

In an intelligent man-machine interface, it is very effective to support human thinking and to be in communication in some intuitive fashion. For this, sharing experience between the party concerned, human operators(s) and the interface is essential. It is also necessary to keep mutual understanding in some conceptual levels. Here in the present paper, figures which are an aspect of concepts and form a basis of mental image are discussed.

• Journal of The Korean Digital Architecture Interior Association
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• v.11 no.3
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• pp.53-59
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• 2011

In creative design, it is necessary to understand the characteristic of architectural design. In the world of design problem, a distinction can be made between those that are well-defined and those that are ill-defined. Well-defined problems are those for which the ends or goal, are already prescribed and apparent, their solution requires the provision of appropriate means. For ill-defined problems, on the other hand, both the ends and the means of solution are unknown at the outset of the problem solving exercise, at least in their entirety. Most of design problems is ill-defined, which is unknown at the beginning of the problem solving exercise. In order to solve the design problem, Designers take advantage of the search methods of problem space, such as global-search-methods(depth-first-methods, breath-first-methods), local-search-methods(generate and test, heuristics, hill-climbing, reasoning) and visual thinking, which is represented through sketching. Sketching is a real part of design reasoning and it does so through a special kind of visual imagery. Also in the design problem solving it have been an important means of problem exploration and solution generation. By sketching, they represent images held in the mind as well as makes graphic images which help generate mental images of entity that is being designed. The search methods of problem space and a visual thinking have been crucially considered in the architectural design. The purpose of this paper is to explore the property of design by means of the pre-existed-experiment data and literature research. The findings will help design the architectural design for more creative results.

• Journal of the Korean Chemical Society
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• v.54 no.1
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• pp.150-157
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• 2010

In this study, we investigated the differences of mapping understanding and the types of mapping errors by the levels of students' cognitive/affective variables and the relationships between mapping understanding and these variables in learning 'concentration and reaction rate' with analogy. After administering the tests regarding logical thinking ability, visual imagery ability, analogical reasoning ability, self efficacy, and need for cognition as pretests, students learned with analogy. Then, students' familiarity and mapping understanding were examined. Analyses of the results revealed that the scores of the mapping understanding for the students with higher levels of all cognitive/affective variables except visual imagery ability and familiarity were significantly higher than those for the students with lower levels. The differences in the types of the mapping errors such as overmapping, failure to map, impossible mapping, artificial mapping, mismapping, rash mapping, and retention of a base feature were also found by the levels of students' cognitive and affective variables. The scores of students' mapping understanding were positively correlated with those of all cognitive and affective variables. The results of multiple regression analysis indicated that students' science achievement, logical thinking ability, and familiarity were significant predictors of mapping understanding. Educational implications of these findings are discussed.