• Journal of Electrochemical Science and Technology
• /
• 제11권3호
• /
• pp.318-321
• /
• 2020

Here I present a formula which converts a constant phase element (CPE) to its equivalent capacitor. Electrochemical impedance spectroscopy is capable of resolving a complex electrochemical processes into its faradaic and non-faradaic elements, and the non-faradaic process is frequently described as a CPE in place of a capacitor due to the non-ideality. Being described as a capacitor, the non-faradaic element provides information by its capacitance, but a CPE cannot provide a physical meaning. In order to solve the problem, the CPE has been dealt with as an equivalent capacitor of which the capacitance provides practical information. Succeeding the two methods previously suggested, a new conversion method is suggested in this report. While the previous ones manipulate only the CPE, the new method takes both the CPE and its related resistor into account for conversion. By comparing the results obtained by the three methods, we learn that the results are nearly the same within tolerable ranges, and conclude that any of the method choices is acceptable depending on the conditions of the system of interest.

• 한국실내디자인학회논문집
• /
• 제27호
• /
• pp.20-27
• /
• 2001

The tendency of formalization in Contemporary Architecture deeply relies on the thought of Western Philosophy, which emphasizes the art of image perceived visually but ignores the body and perception of a human beig who uses the architecture and lives in it. On the contrary, Merleau-Ponty asserted long time ago that the world and the body are inseparably related to each other. The phenomenology is important in Architecture, since the center of thought should be taken back to the human body if a artistic meaning can be obtained by Architecture. From this point of view, the meaning of Contemporary Architecture can be renewed by the phenomenological idea of Merleau-Ponty as a means of expanding thought that overcomes the limit of formalization in Contemporary Architecture. This research aims to ream from Steven Holl's work, and show the Architectural elements that are used for preceptual experience of phenomenon and the function of those element sin Architectural space of his works. The result of study on about the phenomenal light and water in Architectural space of Steven Holl is as follows; First, in perceptional experience of phenomenon, time is an important element, which is successive and make a field that cause perceptional experience. Second, light, as a phenomenological element, acted as a means of expressing the comparison and change of light and shadow in Architectural space and showing the change of color by the diversity of time in inner space. Third, water, as a phenomenal lens, not only acted functional but also functioned as an element of sensual experience in Architectural space. It acted as an image containing time, space, just like a mirror that reflect the environment.

• 한국조경학회:학술대회논문집
• /
• 한국조경학회 2007년도 Journal of Landscape Architecture in Asia Vol.3
• /
• pp.107-112
• /
• 2007

This study had the purpose to restore imaginary environment involved to symbolic thinking system of Eastern culture discontinued by scientific and reasonable rationalism of Western. To restore imaginary environment, this study selected example places such as Seoul, Beijing, Kyoto which were ancient cities of Korea, China, Japan each and used hermeneutics and phenomenological access method to draw out the element of imaginary environment by analyzing historical and cultural view of example cities. Through comparison and re-interpretation of historical and cultural view of three countries[Korea, China, Japan] in Northeast Asia, as the result of drawing imaginary environment involved within it, it was structured that the spirit and the factor of natural environment of places involved to each cities were reflected as the factor of civilized environment, organized that each element was united, and more sanctified the spirit of place step by step. This study has the meaning as first trial which comparatively analyzed city spaces of existent place of human life by new concept called imaginary environment. It may has the meaning that verifying the universality of imaginary environment involved to historical and cultural view of three Northeast Asian countries, however, there was limitation to examine specificity up to detailed elements of each city.

• 한국의류학회지
• /
• 제39권3호
• /
• pp.353-368
• /
• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• 조형예술학연구
• /
• 제1권
• /
• pp.63-93
• /
• 1999

This treatise begins with finding a meaning of Paul Klee's . It is pretty simpleto choose the square of Klee. The most important formative language for twenty century is abstraction. The element of speaking for abstraction issquare. The artists are trying to contain the nature and universe in the square. The role of magic square consisting with small squares of Klee is crystallized. The other side, the test of this study is a method analysis. The method analysis is changing while concept and style have been changing according to a period. The existing method analysis is an iconology used many times in Art history. This treatise introduces France symbolists, Bernard Cocula and Claude Peyroutet's analysis of a meaning of image(Semantique do l'image) who were applied to Modern Art. based on Iconography. It also applies to analysis of artwork of Klee. Cocula's is developed from one phase to five phase step by step. The first phase deals with an appearance of artwork. Subsequently, the second phase is directly adjacent to personal feeling and impression. This is an adequate method for image study in the analysis of modern arts. This phase makes it a rule to enjoy talking with artworks above all. The third phase begins with this question 'What do you see? (que voyons-nous?).' The applies exhaustively and strictly to complicated image artworks which need an elaborate analysis. It is very hard but audiences must try to maintain neutrality in front of artwork because cord formation and interpretation should be formed objectively. The meaning analysis and interpretation of the forth phase begins with this question 'what is the image rouse'(qu'evoque cote image?).' This phase is the most important in a process of symbolic analysis. The audience investigates personal elements and common elements. The fifth is synthetic analysis and interpretation phase. The synthesis is last phase and it reaches a valuation and a conclusion. Namely, the synthesis phase makes up synthesis conclusion, summarizes image character, and completes value adjudication. Sometimes it completes no conclusions in a silence. This study found a new possible analysis example from Paul Klee's work. The study emphasizes square analysis and interpretation and uses . The analysis of artwork by Cocula's is an example of the most important work of Klee's three artworks. The first analysis of artwork is and the second one is . The third one is . In these analyses, Klee usedmagic square 'to make natural pictorial element and to explain organic living things.'

• 한국실내디자인학회논문집
• /
• 제13권2호
• /
• pp.168-175
• /
• 2004

The purpose of this study is to ascertain the color design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. Undoubtedly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean color design element. The East Asian color palette is rich in symbolic meaning, mostly these color are in harmony with the nature and human life. In this study, the color of the traditional palace is characterized by the actual color use. The colors of China are various, but they concentration R～G, middle/high level of chroma. In Korea, the colors in palace are distributed in YR/GY, middle/low chroma, relatively higher value. While the major features of Japan color are YR/achromatic with middle/low levels of value and chroma.

• 한국콘텐츠학회:학술대회논문집
• /
• 한국콘텐츠학회 2005년도 춘계 종합학술대회 논문집
• /
• pp.280-284
• /
• 2005

우리가 콘텐츠를 수용하는 과정은 크게 두 단계로 이루어진다. 먼저 감각적인 것들을 받아들인 후 이들을 논리적이며 추상적인 것으로 변환하여 수용한다. 그러므로 콘텐츠는 필수적으로 감각적인 것들을 가져야만 한다. 이 글에서는 유희요소의 본질과 의미를 연구하고 그들이 콘텐츠에 어떤 형식으로 나타나는지에 대한 사례를 분석하였다.

• 한국실내디자인학회논문집
• /
• 제11호
• /
• pp.57-63
• /
• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.

• 대한한의학원전학회지
• /
• 제33권4호
• /
• pp.1-19
• /
• 2020

Objectives : This paper aims to understand the meaning and utilitarian values of 'Jongyong(從容)' in medicine by studying its meaning in the 『Huangdineijing』. Methods : Examples of 'Jongyong(從容)' usages in Chinese literature and classical texts were studied first. Next, the similarities and characteristics of its contexts in discourses between Leigong and Huangdi were examined, followed by further examination of the overall meanings of the six chapters, 「Shicongronglunpian(示從容論篇)」, 「Zhuzhijiaolunpian(著至敎論篇)」, 「Shuwuguolunpian(疏五過論篇)」, 「Zhengsishilunpian(徵四失論篇)」, 「Yinyangleilunpian(陰陽類論篇)」, 「Jiejingweilunpian(解精微論篇)」 and the verses that include 'Jongyong(從容).' Results : Generally 'Jongyong(從容)' describes a resilient attitude that responds appropriately and calmly to difficult external situations while maintaining one's character, or refers to one's general behavior. In the 『Huangdineijing』, 'Jongyong(從容)' is only mentioned in discourses between Leigong and Huangdi, which talks about ancient East Asian clinical medicine in general, its transmission and education. Here, the meaning of 'Jongyong(從容)' could be summarized as an expansion of analogical thinking[引比類], medical work that involves the physician's commitment(人事), and detailed measurement of yinyang difference in the body(刑法, 陰陽, 治數). Discussion : In ancient East Asian medicine, the meaning of 'Jongyong(從容)' is closer to measurement of the yinyang difference rather than differentiation of the five element analogy. It is a medical practice that measures the shape, volume, length, area, height, concentration etc. of the human body in numerical figures to allow for the most subtle comparison, which was an important aspect of the physician's work that needed to be demonstrated, educated and transmitted to later generations to enable continuity of the medical profession.

• 한국실내디자인학회논문집
• /
• 제17권2호
• /
• pp.130-139
• /
• 2008

We have attached importance to the values of spirit and immateriality. As the age of modernism of rationality ended, human being began to emphasize spiritual and immaterial while accepting multiplicity and diversification in the whole areas of society and culture. Hence interests have increased in another side of human spirit that was oppressed by rational, analytic, reasonable and scientific thinking, which has expanded the inner world of human being to the world of the unconscious. According to these paradigm changes, steady efforts to improve our lives better both materially and spiritually have been made in the areas of art and design. Therefore, the current study aims to examine the meaning of object expressed in space from the viewpoint of the unconscious, focusing on works of designer Philippe Starck after 2000 in which unique, preferential and liking characteristics are expressed well. Philippe Starck is a designer who connects design with our daily lives and formalizes it with creative ideas. Also the study theoretically explored the theory of the unconscious, a concept of Freudianism, based on 'Meaning of Dreams' of Freud, and explained the expressional characteristics and meaning of unconscious desire through his works by putting object in Philippe Starck's space. It aims to grope for the meaning of object as another possibility that can function as a spatial ruling element by analyzing object through expanding the extent of correlation and interpretation between human containing spiritual things and object which is the recognition subject in space of the present time, not a mere concept as substance like in the past, and expression of Starck's unconscious desire based on unconscious theory.