• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of the Korea Computer Graphics Society
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• v.17 no.1
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• pp.25-31
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• 2011

Photomosaic is a method of representation an input image in forms of mosaics by a set of small tile images. Generally, equal rectangular tiles are used in photo mosaics. Therefore, there are limitations to expression of mosaic according to characteristic of images. In this paper, photo mosaics using quad-tree structure is proposed to create tiles in varies sizes. Initially, color variance per each level of an input image is computed using the mipmap of graphic hardware. Depending on the value of Valiance, the input image is divided into tiles in varies sizes. Each tile finds the most similar reference image and replaces with it. As a result, the method provides another pictorial effectiveness by dividing the input image into tiles in varies sizes depending on color held by the input image. In addition, whole processing is done on the graphic hardware and thereby we achieve faster performance.

• Journal of Korea Multimedia Society
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• v.6 no.6
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• pp.1088-1099
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• 2003

The syntax-directed translation using semantic actions is frequently used in construction of compiler for text programming languages. it is very useful for the language designers to develop compiler back-end using a syntax structure of a source programming language. Due to the lack of the integrated representation method for a parse tree node and modeling method of syntax structures, it is very hard to construct compiler using syntax-directed translation in visual languages. In this Paper, we propose a visual language compiler generation method for constructing a visual languages compiler automatically, using syntax-directed translation. Our method uses the Picture Layout Grammar as a underlying grammar formalism. This grammar allows our approach to generate parser efficiently u sing And-Or-Waiting Graph and encapsulating syntax definition as one unit. Unlike other systems, we suggest separating the specification and the generation of semantic actions. Because of this, it provides a very efficient method for modification.

• Journal of the Korean School Mathematics Society
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• v.12 no.2
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• pp.151-170
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• 2009

The purpose of the study is to analyze the sixth graders' understanding of concepts and operation about fraction. The test was administered and analyzed to 707 sixth graders' performance on fractions after the fraction instructions in elementary schools in Seoul, Korea. The participants are asked to answer two sets of questions for 40 minutes. First, they are asked to answer to 16 problems about the concepts of fraction with respect to part-whole, ratio, operator, measure, quotient, equivalent, and operations. Second, specially, to investigate sixth graders' ability of drawing and describing the situation of division including fraction, the descriptive problem asked students (1) to describe $3\;{\div}\;\frac{1}{2}$ into pictorial representation and (2) to write the solving process. The participants of this study didn't show deep understandings about the concepts and operation of fraction. The degree of understanding of subconstructs of fraction shows that their knowledge of ratio concept with respect to fraction was highest while their understanding of measure with respect to fraction was lowest. Considering their wrong answers, about 59% of participants showed misconception to the question of naming one fraction that appears between $\frac{1}{5}$ and $\frac{1}{6}$. Further, they didn't explain their understanding with drawing about the division of fraction ($3\;{\div}\;\frac{1}{2}$).

• Journal of the Korean Chemical Society
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• v.57 no.3
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• pp.398-404
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• 2013

In this study, the analogies in the chemistry domain of middle school science textbooks developed under the 2007 revised National Curriculum were analyzed. A total of 235 analogies were found in 27 middle school science textbooks analysed, which means that one analogy per 10 pages was used on average. The number of analogies found in each textbook considerably varied depending on both publishing company and chemistry domain. Functional analogies, verbal and pictorial analogies, analogies with abstract target and concrete analog, enriched analogies, everyday contexts analogies, student-centered analogies, and analogies with low systematicity were frequently used. On presenting the analogies in the textbooks, the term analogy and description about the limitations of the analogies were rarely mentioned. In comparison with the analogies in the science textbooks developed under the 7th National Curriculum, the frequency of analogies per page was increased. There were positive changes in the aspects of representation, extent of mapping and artificiality. No differences, however, were found in the patterns of the other aspects.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Korean journal of communication and information
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• v.45
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• pp.255-295
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• 2009

The purpose of this study was to investigate how much multi-cultural traits the multiculture-oriented TV programs would have and how they tended to represent it with what kinds of meaning structures. As an object of this study, the authors chose the Program of KBS-TV which had been discussed seriously to raise a multi-cultural issue as well as a sexuality issue of lady guests. They collected 70 weekly programs from Nov. 26 of 2006 to March 31, 2008, and finally selected and analyzed 5 weekly programs as main analytic data. They tried to analyze them with various semiotic research methods, especially, linguistic semiotic research methods and pictorial research methods. As results of this study, it was found that this Program was based on multiful-levels of meaning structure: that is, superficial level, representation level and in-depth level. The superficial level of this program presented various multi-cultural traits through many and various talks of lady guests. Its representation level indicated some patterns of discourses about issues and agendas of the talks among lady guests. The in-depth level was based on the sexuality of lady guests as well as the male-dominant ideology. It was finally implicated that this Program was based on the sexuality and feminity of lady guests even though it tried to advocate its multi-cultural traits.

• Journal of the Korean earth science society
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• v.28 no.4
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• pp.393-404
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• 2007

The purpose of this study was to identity scientific models included in the Earth domain of the $10^{th}$ grade science textbooks. Three earth science-related chapters in each of 11 trade books were analyzed. A framework was developed and used to classify a scientific model from three different perspectives: medium of representation, method of representation, and mobility of a model. Results showed that the science textbooks utilized domain-specific models in which the nature of sub-areas of earth science was embedded. That is, the unit of 'Change of the Earth' included many iconic models that represented the inaccessible inner structure of the earth and the movement of the tectonic plates. These were also two-dimensional pictorial and static models. In the chapter of 'Atmosphere and Oceans', symbolic and diagrammatic models were dominant in use, which included weather maps and contour line graphs of sea surface temperature and salinity. The unit of 'Solar System and Galaxies' showed the highly frequent use of iconic and analogical models for the large-scale celestial objects and their movements. Implications for earth science education and relevant research were discussed.

• Journal of the Korean Institute of Intelligent Systems
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• v.13 no.4
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• pp.403-408
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• 2003

A general meaning of caricaturing is that a representation, especially pictorial or literary, in which the subject's distinctive features or peculiarities are deliberately exaggerated to produce a comic or grotesque effect. In other words, a caricature is defined as a rough sketch(dessin) which is made by detecting features from human face and exaggerating or warping those. There have been developed many methods which can make a caricature image from human face using computer. In this paper, we propose a new caricaturing system. The system uses a real-time image or supplied image as an input image and deals with it on four processing steps and then creates a caricatured image finally. The four Processing steps are like that. The first step is detecting a face from input image. The second step is extracting special coordinate values as facial geometric information. The third step is deforming the face image using local warping method and the coordinate values acquired in the second step. In fourth step, the system transforms the deformed image into the better improved edge image using a fuzzy Sobel method and then creates a caricatured image finally. In this paper , we can realize a caricaturing system which is simpler than any other exiting systems in ways that create a caricatured image and does not need complex algorithms using many image processing methods like image recognition, transformation and edge detection.