• Korean Journal of Cognitive Science
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• v.27 no.4
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• pp.573-597
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• 2016

Recent fMRI and EEG research for neural representations of action concepts insist that processing of action concepts evoke the simulation of sensory-motor information. Moreover, there are several behavioral studies showing that understanding of action verbs or sentences describing actions interfere or facilitate current action performance. However, it is unclear that online interaction between processing of action concepts and current action is based on the simulation of sensory-motor information, or other neural mechanisms. The present research aims to explore the underlying neural mechanism that how the perception of action language influence the performance of current action using high-spacial temporal resolution EEG and multiple source analysis techniques. For this, participants were asked to perform a cued-motor reaction task in which button-pressing hand action and pedal-stepping foot action were required according to the color of the cue, and we presented auditorily action verbs describing the responding actions (i.e., /press/, /step/, /stop/) just before the color cue and examined the interaction effect from the semantic congruency between the action verbs and the current action. Behavioral results revealed consistently a facilitatory effect when action verbs and responding actions were semantically congruent in both button-pressing and pedal-stepping actions, and an inhibitory effect when semantically incongruent in the button-pressing action condition. In the results of EEG source waveform analysis, the semantic congruency effects between action verbs and the responding actions were observed in the Wernicke's area during the perception of action verbs, in the anterior cingulate gyrus and the supplementary motor area (SMA) at the time when the motor-cue was presented, and in the SMA and primary motor cortex (M1) during action execution stage. Based on the current findings, we argue that perceived action verbs evoke the facilitation/inhibition effect by influencing the expectation and preparation stage of following actions rather than the directly activating the particular motor cortex. Finally we discussed the implication on the neural representation of action concepts and methodological limitations of the current research.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.12 no.1
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• pp.141-150
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• 2012

This paper suggests a critical path search algorithm that can easily draw PERT/GANTT chart which manages and plans a project schedule. In order to evaluate a critical path that determines the project schedule, Critical Path Method (CPM) is generally utilized. However, CPM undergoes 5 stages to calculate the critical path for a network diagram that is previously designed according to correlative relationship and execution period of project execution activities. And it may not correctly evaluate $T_E$ (The Earliest Time), since it does not suggest the way how to determine the sequence of the nodes activities that calculate the $T_E$. Also, the sequence of the network diagram activities obtained from CPM cannot be visually represented, and hence Lucko suggested an algorithm which undergoes 9 stages. On the other hand, the suggested algorithm, first of all, decides the sequence in advance, by reallocating the nodes into levels after Breadth-First Search of the network diagram that is previously designed. Next, it randomly chooses nodes of each level and immediately determines the critical path only after calculation of $T_E$. Finally, it enables the representation of the execution sequence of the project activity to be seen precisely visual by means of a small movement of $T_E$ of the nodes that are not belonging to the critical path, on basis of the $T_E$ of the nodes which belong to the critical path. The suggested algorithm has been proved its applicability to 10 real project data. It is able to get the critical path from all the projects, and precisely and visually represented the execution sequence of the activities. Also, this has advantages of, firstly, reducing 5 stages of CPM into 1, simplifying Lucko's 9 stages into 2 stages that are used to clearly express the execution sequence of the activities, and directly converting the representation into PERT/GANTT chart.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• The Mathematical Education
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• v.63 no.2
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• pp.255-272
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• 2024

This study aims to design mathematics-integrated classes that cultivate artificial intelligence (AI) thinking and to analyze students' AI thinking within these classes. To do this, four classes were designed through the integration of the AI4K12 Initiative's AI Big Ideas with the 2015 revised elementary mathematics curriculum. Implementation of three classes took place with 5th and 6th grade elementary school students. Leveraging the computational thinking taxonomy and the AI thinking components, a comprehensive framework for analyzing of AI thinking was established. Using this framework, analysis of students' AI thinking during these classes was conducted based on classroom discourse and supplementary worksheets. The results of the analysis were peer-reviewed by two researchers. The research findings affirm the potential of mathematics-integrated classes in nurturing students' AI thinking and underscore the viability of AI education for elementary school students. The classes, based on AI Big Ideas, facilitated elementary students' understanding of AI concepts and principles, enhanced their grasp of mathematical content elements, and reinforced mathematical process aspects. Furthermore, through activities that maintain structural consistency with previous problem-solving methods while applying them to new problems, the potential for the transfer of AI thinking was evidenced.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.1 no.1
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• pp.3-17
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• 1998

The purposes of this study is to investigate the possibility of planting trees at space land in the riverside. The space land is for the green space. Calculating the plantable space in the representation section and the flood flowing stability of the existing banks based on the hydrological and meteorological data of the Kap-Chon riverbasin located in Tae-jon, the following results are drawn. (1) The flood discharges in each flow section are $698.7m^3/s$ in section 1, $654.6m^3/s$ in section 2, and $1353.3m^3/s$ in section 3 during 100 years recurrence interval. Because the designed-flood discharges in those sections are $1719.9m^3/s$, $2119.7m^3/s$, and $1512.8m^3/s$ respectively, safety for flood flowing is sufficient in existing banks. (2) The possible clearance for planting trees is 1.80m in section 1, 3.90m in section 2, and 0.01m in section 3. Planting clearance is enough in section 1 and 2. However, planting should be planned after estimating a rise-height due to the bridge piers, because many piers under riverine-highway are now on the construction in section 2. The section 3 does not have sufficient clearance for planting trees, but the planting is possible after getting enough flow area with slope by cutting the terrace land on the river artificially heightened. (3) In case of planting a tree 70cm diameter in $1m^2$ in section 1, the water level increases by 0.60m. Planting a tree in a $48m^2$ area increases the water level by 0.90m. Considering that plantable clearance is 1.8m in section 1, it is sufficient to flow safely. But if the trees are planted so compactly from the upper stream, expected heavy resistance is expected due to caught materials on the trees. So, trees have to be planted widely in upper streams but compactedly in lower streams. (4) The river width without changing, Kap-Chon's flow channel can be snaked in accordance with the nature law the wide terrace land in the riverside. Decreased flow area due to planting trees will be compensated by the inclination of terrace land. And, it is theoretically proved that the flood discharge is safe even though the terrace land on the river is parked similar to the nature. Planting trees in the terrace land of the Kap-chon river to the extent that flood flowing is not adversely affected, we can get the enjoyable park to citizens not spending expensive cost. It also contributes to the recovery of ecosystem, which gives the natural beauty of river and shade to citizens and becomes good natural-educational places for children.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.