• Archives of design research
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• v.17 no.1
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• pp.211-220
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• 2004

The Chaos theory of complexity and Fractal theory which became a prominent figure as a new paradigm of natural science should be understood not as whole, and not into separate elements of nature. Fractal Dimensions are used to measure the complexity of objects. We now have ways of measuring things that were traditionally meaningless or impossible to measure. They are capable of describing many irregularly shaped objects including man and nature. It is compatible method of application to express complexity of nature in the dimension of non-fixed number by placing our point of view to lean toward non-linear, diverse, endless time, and complexity when we look at our world. Fractal Dimension allows us to measure the complexity of an object. Having a wide application of fractal geometry and Chaos theory to the art field is the territory of imagination where art and science encounter each other and yet there has not been much research in this area. The formative word has been extracted in this study by analyzing objective data to grasp formative principle and geometric characteristic of (this)distinct figures of Fractals. With this form of research, it is not so much about fractal in mathematics, but the concept of self-similarity and recursiveness, randomness, devices expressed from unspeakable space, and the formative similarity to graphic design are focused in this study. The fractal figures have characteristics in which the structure doesn't change the nature of things of the figure even in the process if repeated infinitely many times, the limit of the process produces is fractal. Almost all fractals are at least partially self-similar. This means that a part of the fractal is identical to the entire fractal itself even if there is an enlargement to infinitesimal. This means any part has all the information to recompose as whole. Based on this scene, the research is intended to examine possibility of analysis of fractals in geometric characteristics in plasticity toward forms in graphic design. As a result, a beautiful proportion appears in graphic design with calculation of mathematic. It should be an appropriate equation to express nature since the fractal dimension allows us to measure the complexity of an object and the Fractla geometry should pick out high addition in value of peculiarity and characteristics in the complex of art and science. At the stage where the necessity of accepting this demand and adapting ourselves to the change is gathering strength is very significant in this research.

• Journal of Intelligence and Information Systems
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• v.16 no.3
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• pp.181-199
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• 2010

As rapid progress of population aging and strong interest in health, the demand for new healthcare service is increasing. Until now healthcare service has provided post treatment by face-to-face manner. But according to related researches, proactive treatment is resulted to be more effective for preventing diseases. Particularly, the existing healthcare services have limitations in preventing and managing metabolic syndrome such a lifestyle disease, because the cause of metabolic syndrome is related to life habit. As the advent of ubiquitous technology, patients with the metabolic syndrome can improve life habit such as poor eating habits and physical inactivity without the constraints of time and space through u-healthcare service. Therefore, lots of researches for u-healthcare service focus on providing the personalized healthcare service for preventing and managing metabolic syndrome. For example, Kim et al.(2010) have proposed a healthcare model for providing the customized calories and rates of nutrition factors by analyzing the user's preference in foods. Lee et al.(2010) have suggested the customized diet recommendation service considering the basic information, vital signs, family history of diseases and food preferences to prevent and manage coronary heart disease. And, Kim and Han(2004) have demonstrated that the web-based nutrition counseling has effects on food intake and lipids of patients with hyperlipidemia. However, the existing researches for u-healthcare service focus on providing the predefined one-way u-healthcare service. Thus, users have a tendency to easily lose interest in improving life habit. To solve such a problem of u-healthcare service, this research suggests a u-healthcare recommender system which is based on collaborative filtering principle and social network. This research follows the principle of collaborative filtering, but preserves local networks (consisting of small group of similar neighbors) for target users to recommend context aware healthcare services. Our research is consisted of the following five steps. In the first step, user profile is created using the usage history data for improvement in life habit. And then, a set of users known as neighbors is formed by the degree of similarity between the users, which is calculated by Pearson correlation coefficient. In the second step, the target user obtains service information from his/her neighbors. In the third step, recommendation list of top-N service is generated for the target user. Making the list, we use the multi-filtering based on user's psychological context information and body mass index (BMI) information for the detailed recommendation. In the fourth step, the personal information, which is the history of the usage service, is updated when the target user uses the recommended service. In the final step, a social network is reformed to continually provide qualified recommendation. For example, the neighbors may be excluded from the social network if the target user doesn't like the recommendation list received from them. That is, this step updates each user's neighbors locally, so maintains the updated local neighbors always to give context aware recommendation in real time. The characteristics of our research as follows. First, we develop the u-healthcare recommender system for improving life habit such as poor eating habits and physical inactivity. Second, the proposed recommender system uses autonomous collaboration, which enables users to prevent dropping and not to lose user's interest in improving life habit. Third, the reformation of the social network is automated to maintain the quality of recommendation. Finally, this research has implemented a mobile prototype system using JAVA and Microsoft Access2007 to recommend the prescribed foods and exercises for chronic disease prevention, which are provided by A university medical center. This research intends to prevent diseases such as chronic illnesses and to improve user's lifestyle through providing context aware and personalized food and exercise services with the help of similar users'experience and knowledge. We expect that the user of this system can improve their life habit with the help of handheld mobile smart phone, because it uses autonomous collaboration to arouse interest in healthcare.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.3
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• pp.13-24
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• 2016

What are the roles and functions of urban gardening created by citizens in Sujin 2-dong, Seongnam-si? This study has looked into urban gardening in everyday life in a bid to find possible solutions for sustainable urban regeneration. The paper has examined the types, functions, and characteristics of urban gardens in Sujin 2-dong, where the urban restoration project is in progress. This study has conducted primarily on-site inspections and interviews. The research findings are as follows. Most urban gardens in Sujin 2-dong have a vertical structure rather than a regular ground-based one due to lack of land. Six major locations of building a garden include the front of a building, rooftop, top of a gate, stairs, wall, and yard. Rooftop gardens are most common and are built mostly for production purposes. Due to architectural characteristics of this village, there are relatively many stair gardens built mostly for aesthetic purposes. The garden in front of a building has served multiple functions, including formation of entry, privacy protection, and prevention of unauthorized parking. Other than those, detached houses have quality urban gardens built with greater effort and care, while multi-household houses have seen a decrease of stair gardens and an increase of vertical gardens due to their comparatively limited space. By utilizing this research, we hope to show that it is important to understand the local's wisdom and voice for a sustainable urban environment as well as keep these findings in mind during the construction of new buildings. This study would be expected to be useful as primary research for urban gardening in everyday life and alternative ways of urban regeneration.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.6
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• pp.10-20
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• 2014

Today, most roof spaces are being designed as places for resting. The use of the roof spaces needs to be raised otherwise, budgeting or costs involved can be wasteful. A well-made plan is needed to increase the use of the roof spaces. The behavior of and preference for roof spaces could differ depending on building usage because the users of these roof spaces can be different. Therefore, this study selected 4 building types depending on usage: public buildings, educational and research buildings, medical buildings, and commercial buildings. Two buildings that created roof spaces per building type were selected. A survey was undertaken of the user experience of roof spaces on the buildings. The behavior and preference of roof spaces depending on building types were analyzed and the results are as follows. The behavior of using roof spaces regarding purpose, motivation, frequency, and average length of stay were different depending on the building types. In terms of purpose, over all four building types, taking a rest was the primary reason for using roof spaces. However, talking and smoking in public buildings, smoking, taking a walk or stretching, and viewing the exterior landscape in educational and research buildings, taking a walk or stretching and talking in medical buildings, taking care of children and talking in commercial buildings were also important reasons for using roof spaces. The preference of roof space components such as plants, paving materials, and facilities were different depending on the building types. In terms of plants, the users of public buildings preferred herbaceous plants and vegetables/aquatic plants more than the users of other building types. The users of medical buildings preferred vegetables/aquatic plants, and the users of commercial buildings preferred arbores, herbaceous plants, and vegetables/aquatic plants more than the users of other building types. This study provides empirical data for the behavior and the preference of roof spaces depending on building types. These findings could provide new insights into how to increase the use of roof spaces.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• The KIPS Transactions:PartB
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• v.13B no.5 s.108
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• pp.561-568
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• 2006

WPS(Wearable Personal Station) for next generation PC can define as a core terminal of 'Ubiquitous Computing' that include information processing and network function and overcome spatial limitation in acquisition of new information. As a way to acquire significant dynamic gesture data of user from haptic devices, traditional gesture recognizer based on desktop-PC using wire communication module has several restrictions such as conditionality on space, complexity between transmission mediums(cable elements), limitation of motion and incommodiousness on use. Accordingly, in this paper, in order to overcome these problems, we implement hand gesture recognition system using fuzzy algorithm and neural network for Post PC(the embedded-ubiquitous environment using blue-tooth module and WPS). Also, we propose most efficient and reasonable hand gesture recognition interface for Post PC through evaluation and analysis of performance about each gesture recognition system. The proposed gesture recognition system consists of three modules: 1) gesture input module that processes motion of dynamic hand to input data 2) Relational Database Management System(hereafter, RDBMS) module to segment significant gestures from input data and 3) 2 each different recognition modulo: fuzzy max-min and neural network recognition module to recognize significant gesture of continuous / dynamic gestures. Experimental result shows the average recognition rate of 98.8% in fuzzy min-nin module and 96.7% in neural network recognition module about significantly dynamic gestures.

• 한국노년학
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• v.38 no.4
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• pp.1057-1081
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• 2018

This study analyzed the case of elderly care cluster in Gwangjin-gu to explore the possibilities of social economy as a provider of community-based social services. Community-based means the approach by which community organizations build a voluntary and collaborative network to enhance collective problem-solving abilities. Therefore, it is very likely that the social economy that emphasizes people, labor, community, and democratic principles can contribute to community-based social services. This study analyzed social economic network by using four characteristics of social economy suggested by OECD community economy and employment program as an analysis framework. The results of this study are as follows: First, it is found that social economy would hardly supply community-based social services through network cooperation because of a large variation in community identity, investment to new product, and labor protection. Second, community users are not the consumers of the social economy and the products of the social economy stay in market products only for the organizations in social economy. In order to create good services that meet the needs of residents, community development approaches are required at the same time. The importance of community space where local residents and social economy meet is derived. Third, public support such as purchasing support has weakened the ecosystem of social economy by making the distinction between public economy and social economy more obscure. On the other hand, public investment in community infrastructure is an indirect aid to social economy to communicate with residents and to promote good supply and consumption. In the end, community-based social services need a platform where the social economy and the people meet. This type of public investment can create the ecosystem of the social economy.

• Journal of Korean Philosophical Society
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• v.131
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• pp.223-244
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• 2014

In this paper, the author interprets Juyeok (The Book of Changes) as a philosophical book on self-culture instead of a book on divination. Juyeok, originally, was a book on divination written to tell fortunes; however, it has been a rich source producing the discourse of the humanities. This is because it has a unique system of linguistic symbols. Gwae-Hyo (Hexagrams and Horizontal Lines) system of Juyeok has a number of symbolic features, and there is too much room for new philosophical, cultural interpretations. Thus, Juyeok can be applied to any information and events, and it can, accordingly, help solve the problems of life we are facing. Moreover, Juyeok's unique characteristics are revealed very well in active intervention of persons who read and interpret it. Carl Gustav Jung is the very person who argued that one should interpret Juyeok through this active intervention. In the foreword of Juyeok translated by Richard Wilhelm, he mentions a possibility of the interpretation of Juyeok applying 'synchronicity.' According to him, Juyeok is a material not to predict the future or tell the fate ordained, but to look back on oneself or find the solutions of problems oneself. It allows the inquirer to interpret Gwae-Hyo-Sa (Explanations) not simply through the result of fortune-telling but the act of telling one's fortune. He applies 'synchronicity' to the finding of answers to one's problems in the given Gwae-Hyo-Sa. Synchronicity refers to 'the principle of non-causal relationship explaining a phenomenon of meaningful coincidence.' Here, simultaneity, unlike contingency the principle of causality refers to, means 'meaningful coincidence.' He presents a theory that the divination signs derived from Gwae-Hyo-Sang (Images) through synchronicity is a reflection of the psychology of the unconscious the fortune-teller or a man who receives the results of the divination signs has under certain circumstances on the outside. This is because Jung interprets it like this because the way of communication of Juyeok using symbolic language is not direct but indirect. Juyeok's system of symbolic language aims not at delivering objective knowledge, but the reader's self-transformation. This point can be applied in clinical philosophy. People who suffer from agony and pain in their daily lives may find meaningful and helpful advice for themselves no matter what Gwae-Hyo-Sa they choose in Juyeok. This is because it was originally hidden in their inner space and just revealed concretely through Gwae-Hyo-Sang or Gwae-Hyo-Sa in Juyeok. In this sense, we connect the meaning Gwae-Hyo-Sang or Sa contains from Juyeok to their circumstances, read counsel or advice needed ourselves and make it our own to be able to have power to change and help ourselves. And at this very point may be evaluated as an important role of Juyeok.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.