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

• The Research Journal of the Costume Culture
• /
• v.15 no.5
• /
• pp.888-901
• /
• 2007

The purpose of this study was to examine the differences in clothing selection criteria and store selection criteria between each consumer groups by the preference for fast fashion. The data was collected from a questionnaire conducted on 317 female adults. The results were as follows. First, the factor analysis used to identify clothing selection criteria involved the following four factors: fashion, quality/practicality, status symbol, and economics. The consumer group preferring fast-fashion regarded fashion and economics as important factors and the non-preferring group regarded status symbol factor more. Second, five factors(atmosphere, product service/salesperson, shopping convenience, promotion/facilities) of store selection criteria were constructed by factor analysis, The consumer group preferring fast-fashion regarded atmosphere and product as important factors and the non-preferring group considered service/salesperson and promotion/facilities factors more. Third, the consumers who were of low age, low education, low income and unmarried preferred fast fashion brand.

• Proceedings of the IEEK Conference
• /
• 1999.06a
• /
• pp.130-133
• /
• 1999

In the view point of further reducing the inter-symbol interferences studied in our previous paper 〔1〕, a quadrature pair of wavelet-based filter banks that are composed of a pair of cosine and sine modulated filter banks is applied to MC-CDMA transmultiplexing. For that fact, the symbol duration gets twice longer than the one in , 〔1〕, the interference effects due to channel overlapping and Doppler spread can be effectively alleviated while increasing the channel utilization efficiency. Moreover, the well-known wavelet properties are exploited to design the prototype filter in such a way to maintain the size of sidelobes much smaller than those of the FFT, the interference reduction effect can be further obtained. To verify the behavior of our proposed quadrature filter bank based MC-CDMA system, the reverse-link bit error rates with respect to SNR under Rayleigh fading and additive white Gaussian noise channel environments are computed. The results show an improved system performance over the conventional MC-CDMA.

• Journal of the Korean Society of Costume
• /
• v.54 no.2
• /
• pp.135-148
• /
• 2004

The purpose of this thesis is to examine how typography, which has become apparent in many areas of modern society, is expressed, portrayed and how its value, function and significance in fashion can be understood. In order to undertake this study, the concept of typography was examined in detail, the verbal and formative function of typography carefully considered, and the different types of typography were analyzed and categorized in to the below areas : - Typography for the increasing of brand logo recognition - Typography as a social slogan - Typography for the increasing of collective belongingness - Typography as an image - Typography as a symbol. As a result, the typography plays an important role of a verbal tool in modern fashion design. Through typography, fashion was able to explain in much detail the overstatement of society criticizing character and functionality of information conveyance. However, the role of typography will continue to change and evolve according to the constant changes of fashion

• Journal of the Korea Computer Industry Society
• /
• v.3 no.1
• /
• pp.67-76
• /
• 2002

This thesis aims at the study of the receiving part of wireless modem for Mobitex, which are designed for two way massage services by using the network of wireless packet. This receiving part has the features of GMSK demodulation by using Gaussian filter, which has the co-amplitude in a better condition and narrowness bandwidth and high performance in BER, compared with existing MSK modulation. In case of BT=0.3, we designed this receiving part to reduce RF output power spectrum at received data of symbol demodulation and avoid inter symbol interference(ISI) so that we can apply this part to Mobitex network which are currently in service for wireless modem in domestic.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.5 no.2
• /
• pp.17-29
• /
• 2003

This survey paper examines general characteristics of "yellow" color, the oldest color in the history of art. Also the research aims to find meanings of the color and historical development embedded in clothing and textile both in orient and in occident where different philosophy and history developed. It is found here that the yellow symbolized both positive and negative meaning in the history of costume throughout the world. The color, however, was used to symbolize mostly positive meaning in the orient whereas not in the occident. "Yellow" color in orient used to symbolize the supremacy of the emperor, excellence and authority. The meaning of "yellow" color in the occident is two fold: from the positive viewpoint it represent god, king, wisdom, wealth and holy light, and from the negative viewpoint it represent image of betrayal and distrust, image of immorality, image of death and disease and image of jealousy and hatred. The concept of "yellow" was generalized in orient by the "Eum-Yang-O-Haeng Theory", while in occident by the Christianism. And the concepts came to hold concrete meanings and thereafter the symbol of yellow appeared.ings and thereafter the symbol of yellow appeared.

• The Journal of Korean Institute of Communications and Information Sciences
• /
• v.38A no.6
• /
• pp.459-464
• /
• 2013

In this paper, we introduce a modulation code design problem where best selection of two-dimensional codewords are determined to reduce two-dimensional (2D) intersymbol interference (ISI) and interpage interference (IPI). Codeword selection problem is formulated as a quadratic integer programming model that minimizes intra- and inter-symbol differences subject to uniform symbol usage and minimal Hamming distance violations. Second integer programming model detects the occurrence of isolated pixel pattern in the selected codewords. The proposed models are applied to 4-level and 2-level 6/8 codes.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.5 no.3
• /
• pp.37-48
• /
• 2003

'Pattern' is of very unique nature in each and every country around the world, and its aesthetic feeling of 'pattern' has been handed down according to its nationality and cultural development process. That is, 'pattern' is ornament to symbolize each country's aesthetic standard or choice through some shape, reflecting social consciousness or religion philosophy. Mostly based upon literature survey and case study, this survey paper analytically compares oriental botanical pattern with occidental botanical figure, which has been influenced by Buddhism-Confucianism and Christian religion respectively. The results show that some patterns are commonly used in both area, while meaning differently in some cases: lotus (life), pomegranate (wealth and prosperity in orient, resurrection in occident), grape (fecundity in orient, wealth in occident), dangcho (fecundity in orient, victory in occident). And the other patterns look uniquely used either just in orient or only in occident. For instance, oriental area had its own patterns such as peony (meaning wealth and honour), peach (longevity), ume flower (happiness), orchid (fecundity); while occidental area used lily (purity), olive (peace), palm (victory), and so on. Interestingly, the botanical patterns were used as main patterns in orient whereas as minor in occident.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.39 no.4
• /
• pp.477-491
• /
• 2015

This study analyzes Chinese dresses featured in propaganda posters since the mid-$20^{th}$ century as well as explores the political characteristics of dress. This study used an in-depth interview method to investigate information from 10 Chinese familiar with public awareness and donning practices of the Chinese from 1949 to present. Interviews and analysis provided the following conclusions. First, Zhongshan-zhuang, Liening-Zhuang and Bulaji were widely worn in the Reconstruction because of the revolutionary spirit; in addition, Huayishang also became simultaneously popular as a means to reflect the new aspects of socialism. Second, Jufu/Junbianfu were the most common dresses during the period of Cultural Revolution because the government used various mechanisms to control public opinion. Third, Western fashion began to enter the Chinese market and suit wearing by the Chinese became a symbol of the Reformation and Open-door policy. Traditional dress is no longer a symbol of Feudalism and is a part of Chinese culture that has been reaccepted in the Reformation and Open-door times. Finally, during these 60 years, Chinese dress has obvious political characteristics, but began to change. The changes of political characteristics were, de-politicization expressed by the introduction of Western ready-made, permissions for traditional dress and diversification/ individualization.

• Archives of design research
• /
• v.17 no.4
• /
• pp.327-336
• /
• 2004

The cultural production of meanings is becoming more and laden with the intricacies of signs and symbols in our times. The idea of 'character' is important as an intermediation for information and an essential characteristic of "the object" experienced through the sence of sight. Character is symbolicin its form but also in its iconic markings. Motion Picture Animation makes Character not just an expression of an image but visual communication that expands the action of meaning piled up, sign upon sign. The analysis of 'character' suggests that motion picture animated characters could play an important role as a cultural mode leading to new styles not merely as an aesthetic mechanism. The study there with analyzed animated character systematically to discem where the sign phenomena shows up in social conventions under the semiotic rigor of Peirce's concepts of icon, index, and symbol.