• Journal of Science of Art and Design
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• v.3
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• pp.225-247
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• 2001

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.

• Journal of Science of Art and Design
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• v.1
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• pp.11-62
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• 1999

The paper aims to survey some features in the 20th century's semantic analyses of the pictorial representation as a paradigm concept. Here the most typical pattern of paradigms to approach it were thought that one is Referential Semantics which begins with Wittgenstein's Picture Theory, the other, Ontological Semantics concerned with .Langer's Symbol Theory. In the light of paradigm theory, some results acquired are as follows. First, the two paradigms are recognized as those of a mutually different philosophical background. So as far as the researcher is concerned, their arguments are contradictory each other. Second, it must be emphasized that each of them all have a possible aspect of necessary and sufficient requirements. to interpret and analyze the meaning of artistic representation. In result, the Referential and Ontological Semantics can work with a complementary partnership. In short, the referential meaning constructs a infrastructure of the picture, whereas the ontological meaning does it's infrastructure.

• KOMUNHWA
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• no.20
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• pp.3-13
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• 1982

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• The Journal of the Korea Contents Association
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• v.9 no.5
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• pp.107-117
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• 2009

Depending heavily on CG technologies, the movies with CG generated characters and backgrounds focus on the reality effect in terms of the graphic itself. However, reality effect means a lot more in filmmaking than just pictorial representation. This study analyzes shot-by-shot a sample movie which has good staging as a part of film directing to increase reality effect in terms of diegesis and a film as a whole not just pictorial reality effect.

• Proceedings of the Korean Society of Medical Physics Conference
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• 2002.09a
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• pp.429-431
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• 2002

Metabolic analysis of biological tissues, the interventional radiology in MRT (Magnetic Resonance Treatment) and for clinical diagnoses, representation of 4-Dimensional (4D) structural information (x,y,z,t) of biological tissues is required. This paper discusses image representation techniques for those 4D MR Images. We have proposed an image reconstruction method for ultra-fast 3D MRI. It is based on image interpolation and prediction of un-acquired pictorial data in both of the real and the k-space (the acquisition domain in MRI). A 4D MR image is reconstructed from only two 3D MR images and acquired a few echo signals that are optimized by prediction of the tissue motion. This prediction can be done by the phase of acquired echo signal is proportioned to the tissue motion. On the other hand, reconstructed 4D MR images are represented as a 3D-movie by using computer graphics techniques. Rendered tissue surfaces and/or ROIs are displayed on a CRT monitor. It is represented in an arbitrary plane and/or rendered surface with their motion. As examples of the proposed representation techniques, the finger and the lung motion of healthy volunteers are demonstrated.

• Journal of Science Education
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• v.40 no.2
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• pp.131-143
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• 2016

This research was conducted to investigate the effects under which learner-generated pictorial representation introduced in summary stage of lesson serve as an instructional strategy improving academic achievement and scientific attitude. The subjects of this study were 152 students (experimental group: 38 boys and 39 girls, control group: 36 boys and 39 girls). Using the learner-generated pictorial representation were applied to experimental group, whereas summarizing the lesson in writing to control group. The results of this study were as follows: First, there was no significant difference between the two groups in the post achievement results. But, a statistically significant difference on a delayed post-test of academic achievement was found between experimental and control groups. Second, there was no significant difference between boys and girls in the post achievement test. But a significantly positive effects on the academic achievement was found in boys of experimental group. Third, experimental group scored higher than the control group in all sub-domains of the scientific attitude; curiosity, openness, criticism, cooperativity, willingness, perseverance. Findings suggest the descriptive drawing is a viable way for elementary students to understand scientific concepts and to improve scientific attitude.

• Proceedings of the KIEE Conference
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• 1992.07b
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• pp.1255-1259
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• 1992

All matter above absolute zero emits thermal energy. Thermal imaging system converts the infrared radiation of a scene into a live picture of that scene : the thermal image is a pictorial representation of temperature differences. This paper has outlined the principles of thermal imaging and has briefly reviewed the history, and the present day and future technology.

• Journal of Families and Better Life
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• v.14 no.1
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• pp.177-186
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• 1996

Bowlby has proposed that child-mother attachment is important in the child's representation of self. In this study the child's self-perceived competence was examined in connect8ion with child-mother attachment in a sample of 40 6-year-olds. Quality of attachment was assessed based on the child's behavior on reunion following a seperation using a system devised by Main and Cassidy. The self-perceived competence was assessed with a pictorial harter's Scale revised by Julie Lee. The results showed significant connections between attachment and the self-perceived competence. Specific areas of self-perceptions were related to particular patterns of attachment.

• The Mathematical Education
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• v.43 no.4
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• pp.391-398
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• 2004

It is well-known in the literature that the general term of a sequence can be represented by a linear combination of binomial coefficients. The theorem and its known proofs are not easy for highschool students to understand. In this paper we prove the theorem by a pictorial method and by a very short and easy inductive method to make the problem easy and accessible enough for highschool students.