• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.88-99
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• 2015

As architecture is designed for humans to live in based on practicality, what one experiences within such spaces is important. Such experiences are not felt only by appreciating the structure's appearance, but involve physical presence inside the space and the deepening of the individuals relationship with the space through the body's sensory perception. However, in modern times there is a much greater tendency to rely on superficial experiences by way of images or tastes rather than more meaningful human participation, while the standardization of the object universe is gradually erasing the uniqueness of experience. In light of this, the restoration of emotional and sensory spatial experiences through the design of sensory spaces can be regarded as an important task in modern spatial design. This study contemplated the meaning of emotional spatial experiences through a phenomenological understanding of such experiences, and analyzed the meaning and main factors in the creation of spatial atmosphere as a phenomenon of spatial experience. In addition, we highlighted the fact that spatial atmosphere can be applied as space design methodology by devising methods of expression through an analysis of actual examples. O.F. Bollnow's space theory and the spatial design of Peter Zumthor were the subjects of this analysis. The spatial atmosphere analyzed using Bullnow's theory is a phenomenon in which both the human and space are connected and the ensuing spatial experience embodies the emotions of both. This spatial atmosphere can be understood as a condition in which the human and space are fused together. Furthermore, coincidental/accidental meeting, mediums using potential objects, reorganization of the center due to autonomous boundaries, as well as the three temporalities were identified as the main factors in the creation of spatial atmosphere. Based on this analysis, through the identification of methods of expression for spatial atmosphere in Zumthor's spaces.

• Journal of Korean Medical classics
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• v.33 no.3
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• pp.21-36
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• 2020

Objectives : This paper aims to understand the meaning of '少陰人 心之範圍' and to determine its clinical implication. Methods : First, the meaning of the verb '範圍' was examined in 『IChing·XiCi(周易·繫辭傳)』 from where it originated. Based on the findings, the meaning of '心之範圍' in the context of the nature and emotion[性情] of So-eumin as explained in the 『DongUisusebowon(東醫壽世保元)』 was further investigated. Moreover, the clinical significance of the observation of '心之範圍' in relation to determining prognosis was discussed in regards to 'visceral syncope[藏厥]' and 'exuberating yin separating yang[陰盛隔陽]' which come under the severe symptoms[危證] category in the disease pattern of So-eumin. Results : '範圍' as mentioned in 『IChing·XiCi(周易·繫辭傳)』 refers to the process of creating a framework that takes after the tendencies of the patterns of change of the external world that influences mankind. The objective of this process is to prepare for the excessiveness and insufficiency of the change that happens in the external world so as to ultimately protect all existences. The workings of '範圍' could be assumed on a personal level as well. As the nature and emotion of So-eumin is closely related to the purpose and object of '範圍', Yi Jema suggested that through observing whether the So-eumin exhibits '心之範圍' or not, that it could be determined whether his/her innate nature is being properly exercised or not. Conclusions : Whether one's agitation calms down or not even for a moment is the criteria for determining prognosis of the entire disease, while its calming-down relies on proper functioning of '心之範圍'. The way to determine this is through observation of the manifest attitude of the So-eumin. If the So-eumin displays a poised and autonomous[綽綽卓卓] attitude even for a moment, it could be understood as the '心之範圍' process being properly functioning, indicating the overall direction to be heading towards relief of the sense of instability, allowing for a positive outlook on treatment.

• Journal of the Korean Home Economics Association
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• v.40 no.7
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• pp.173-192
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• 2002

This study is intended to observe the meaning, aesthetic formative characteristics of the human body which is introduced and applied to the fashion design. The analysis of the modern fashion design describing the human body refers to the extracted fashion design which expresses the human body appearing in domestic & foreign fashion magazines as well as publications associated with it and published since 1990. The analysis of the way of expression, the image and the design elements in these fashion design works, has had to formative characteristics in each of the three parts. The pursuit of formative characteristics through simplifying the expression of the human body, uprising of anatomical expression, and metaphorical expression with the help of personification and objectification can be thought of as characteristics of expressing pattern. And the op-art, optical illusion by virtue of pointillism, the use of non-woven molding, and action painting technique can be described as expression tools to recognize the human body. Images are presented in the characteristics of being grotesque, humorous, erotic, futuristic and mysterious. The characteristics of designs are expressed in creative detail, trimming, pattern and accessory using the form of human body itself as an item of clothing tends to show the unity of human body and clothing. The human body in the modern era reflects the post human image as well as its meaning as a medium and tool. It is also perceived as a specific object to be self-conscious of in this reality with the loss of humanity, alienation and the confusion of identity. The analysis of the image and way of expression of human body in the fashion design, and the meaning of human body will play an important role of identifying tole viewpoint about human body as well as prospecting what the human being will be in the future.

• Journal of the Korean Institute of Intelligent Systems
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• v.14 no.1
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• pp.28-32
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• 2004

Till now, Korean spelling proofreading system has corrected words of a sentence from the relationship of a collocation or the grammatical information of the sentence. In this paper, we propose a system that corrects a word using the relationship among the sememes in a single sentence and substitutes an apt word for a word of the sentence that has the meaningful mistake by a mistyping. The proposed system makes several sentences that are able to communicate with each sememe. The substantives forms meaning tree according to the meaning of the word and the predicate of a sentence defines the meaningful relationship between a substantives of the subject and the object. After this system compares and analyzes the relationship of meaning, it corrects the mistyping of a word in a single sentence that includes an error. If the system finds out the semantic error by the mistyping, it applies the spelling proofreading method that proposed in this paper.

• Cross-Cultural Studies
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• v.25
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• pp.237-265
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• 2011

This thesis is to argue what is the meaning of the expression of cherry blossoms appearing in "Genjimonogatari(源氏物語)" in relation with the structure of Monogatari after checking each example. First we reviewed some examples of the works before "Genjimonogatari", and clarified that cherry blossoms were used as metaphorical expressions of a beautiful woman in waka(和歌), and that at the same time cherry blossoms functioned as the symbol of futility, anxiety together with beauty. Especially in "Kokinshu(古今集)" we identified that there increased the examples where the combination of the expression as falling cherry blossoms, and fog and cherry blossoms was done. In "Genjimonogatari" we examined the examples of cherry blossoms of Chapter 1, Chapter 2, and clarified that Murasakinoue(紫の上) was a woman with an ideal character in looks and inner personality through the diverse viewpoints of characters. In Monogatari of Kashiwagi(柏木) of Chapter 2, the scene where he peeped Onnasannomiya(女三宮) was composed by the combination of cherry blossoms and fog, and we pointed out that we could feel the anxiety, ominousness of the love of the couple through this scene. And the composition of these scenes was also repeated in Monogatari of Chapter 3, and we discussed through these examples that the figurative expressions of cherry blossoms were used about the object of the love not to be realized. Next, we checked that Yugiri(夕霧) who had observed Kashiwagi's love toward Onnasannomiya gave a figurative expression of Kashiwagi's wife Ochibanomiya(落葉の宮) as cherry blossoms. Although Genji(源氏) realized Onnasannomiya's immaturity, Kashiwagi compared her to "cherry blossoms", and Yoogiri compared the woman whom Kashiwagi recognized as "Ochiba(落葉)" to "cherry blossoms", through which we have read the twisted human relation and ironical structure of Chaper 2. Finally, we checked the examples of cherry blossoms in Ooigimi(大君), Nakanokimi(中君), Ukihune(浮舟) who were Ujijujo's heroines. Ooigimi and Nakanokimi were expressed as cherry blossoms by Kaoru(?) and Nioumiya(?宮) and were disclosed as their ideal women. In contrast, Ukihune had something to do with two men with no such figurative expression, so it was pointed out that the absence of such metaphorical expression clarified that the meaning of her existence was nothing but the meaning as a mesiudo(召人).

• The KIPS Transactions:PartD
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• v.8D no.1
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• pp.32-43
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• 2001

Due to the limitation of data modeling power and the view update ambiguity, relational view is limitedly used for engineering applications. On the contrary, object-oriented database view would playa vital role in defining custom interface for engineering applications because the above two limitations of the relational view are overcome by the object-oriented view. Above all, engineering application data interface should fully support updates. More specifically, updates against the data interface needs to be unambiguously defined and its semantic behavior should be equal to base schema updates'. For this purpose, we define the notion of update semantic preserving which means that view updates displays the same semantics as base schema. Besides, in order to show the feasibility of this characteristics, specific and concrete algorithms for update preserving updates are presented for a CAD specialized object-oriented database view - MultiView. This paper finds that in order that virtual classes coudld form a schema with 'isa' relationships rather than just a group of classes, the update semantics on the virtual classes should be defined such that the implied meaning of 'isa' relationships between classes are not to be violated. Besides, as its sufficiency conditions, we derived the update semantics and schema constituable conditions of the virtual classes that make view schemas look like base schemas. To my best knowledge, this is the first research that presents the sufficiency conditions by which we could defined object-oriented views as integrated schemas rather than as separate classes.

• Korean Journal of Cognitive Science
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• v.28 no.1
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• pp.27-42
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• 2017

Stroop effect(Stroop, 1935) is a reliable paradigm which has been used in various psychological research. Although classic Stroop experiment used color and color name for experimental stimuli, subsequent research reported that a color(e.g. green) and an object(e.g. grass) which displays a typical color show similar effects depending on color-object congruency(Klein, 1964). Because past research that used Stroop effect to investigate semantic representation tested association between concrete object and color, they predominantly used concrete nouns and their corresponding color names as stimuli(e.g. Dalrymple-Alford, 1968, 1972; Klein, 1964). Recently, Sherman and Clore(2009) reported that response time to white or black words is affected by moral value of words (e.g., honesty, crime) even when the words do not have specific referents. Based on this result, we tested association between thermesthesia-related adjectives(e.g., 따스한, 냉정한) and color(warm color, cold color) using Stroop task. The results showed that subjects were faster in their response to color when adjective-color was congruent than when incongruent, and there was an interaction between color and meaning of adjectives. The Stroop effect in this research is unique because, contrary to previous research that used concrete nouns, the effect was obtained even with abstract adjectives which do not have specific referents. In addition, unlike Sherman and Clore(2009) that used achromatic color, our results show that Stroop effect obtains between abstract adjectives and chromatic color.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2005.05a
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• pp.23-27
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• 2005

Humans perceptually segment events, but models that predict where events will be segmented are limited. Developing a detailed model may be hard because of the overlapping quality of events (i.e., one can smile and walk at the same time, but the endpoint of each event can be different). However, some aspects of events appear to be universally represented in the world's languages. For example, path, the trajectory of an object's movement, is one of the most universally encoded event features. Although it is generally encoded in the prepositions of English (e.g., up), in other languagesit is encoded in the verbs (e.g., descendere). Linguistic universals may represent basic levels of event perception. Here we consider how one of these, path, might be parsed. Because the spatiotemporal projection of paths to an observation point is similar to the spatial projection of objects, we tested the hypothesis that path segmentation and object segmentation would be based on similar image properties, such as discontinuities in orientation.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.82-96
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• 2014

This study views the shadows cast by the light and a subject provides new interpretations rather than it simply being an additive product. Particularly in fashion photograph, light and shadows are often used as tools to convey meaning. Accordingly, this study aims to classify the utilization of the shadow created by light and deriving its expressive characteristics in fashion photograph. To achieve these research aims, literature and case studies were conducted. The results are as follows. First, the shadows were mainly focused on a subject. Secondly, shadows caused by lighting is casted directly into the inside of the main subject in a frame takes a role of omission or emphasis. Third, shadows caused by a second unseen object outside the frame are utilized with the main subject in the frame. Based on these results above, spatial third dimensionality, optical illusion and accentuation were derived as expressive characteristics of the shadow in fashion photograph. As such, in fashion photograph, shadow is an important element for photographers. The variability of the shadow makes it possible for creative changes as its amount, angle and direction can be altered by adjusting the light in accordance with the intention of the artist. Therefore, its utilization methods will be diversified hereafter. Accordingly, it is required to recognize that shadow may be recreated as an independent object in fashion photograph.

• English Language & Literature Teaching
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• v.13 no.4
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• pp.253-270
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• 2007

The purpose of this paper is to illuminate how Suzan-Lori Parks reveals colonized oppression and violence in a black woman's body in Venus. The body of Hottentot Venus is an 'object' of white male spectators' gazes and a dissection from a medical study. The report on her pathologic anatomy gives the audience the illusion that the body of a black woman is inferior to those of others. Not only 'subjective' aesthetics, but also 'objective' medicine makes us confuse 'fact' with 'truth' about black women. By publicly exhibiting her erotic body, Venus is represented as a singular emblem for nineteenth-century colonial discourse on race and sexuality. Her body stands for the powerful signifier of raped Africa. A distinctive feature of black Venus is her raciality. The ownership of her body is only transferred from Mother-Showman to Doctor Baron. She had no right to her ownership. Her body is an object of hatred and curiosity and at the same time a site which is represented by conflicting desires. Parks' eventual goal in Venus is to investigate 'hindsight' of Venus Hottentot, 'the past' and 'the posterior'. As the meaning of original chocolate can be regained, the insulted and damaged body of Venus should also be recovered and resurrected.