• Annual Conference on Human and Language Technology
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• 2020.10a
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• pp.199-204
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• 2020

기존의 자연어 의미 표상 방법은 크게 나눠보았을 때 두 가지가 있다. 첫 번째로, 전통적인 기호 기반 의미 표상 방법론이다. 이 방법론들은 논리적이고 해석가능하다는 장점이 있으나, 구축에 시간이 많이 들고 정작 기호 자체의 의미를 더욱 미시적으로 파악하기 어렵다는 단점이 있었다. 반면, 최근 대두된 분산 표상의 경우 단어 하나하나의 의미는 상대적으로 잘 파악하는 반면, 문장 등의 복잡한 구조의 의미를 나타내는 데 있어 상대적으로 약한 측면을 보이며 해석가능하지 않다는 단점이 있다. 본 논문에서는 이 둘의 장점을 섞어서 서로의 단점을 보완하는 새로운 의미 표상을 제안하였으며, 이 표상이 유의미하게 문장의 의미를 담고 있음을 비지도 문장 군집화 문제를 통해 간접적으로 보였다.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.1-10
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• 2010

The purposes of this study are to review the Chinese traditional patterns and to apply one of them, the Peony Blossom pattern into modern textile designs for fashion For this purpose, first, the categories and symbolic meanings of the patterns existing in the Chinese traditional clothing from literature were reviewed. Second, the Peony Blossom patterns of Chinese traditional patterns from literature were reviewed and selected one of them, Third, authors applied the Peony Blossom pattern to creative textile design which would fit to appetite of people lived in modern society. The results were as follows: The patterns of Chinese traditional clothing could be classified as animal pattern, plant pattern, nature pattern, character pattern, lucky token pattern, geometric pattern and so on. All these patterns contained individual symbolic meaning, which varied according the different wearers. Moreover, it endows a peony blossom pattern of Chinese traditional patterns with modern style and purposes the textile design. The theme of the design is "Luxuriant Outing" with the concept of "Dream in Fantasy". The design target is the female born in the 1980's, that is, the target population between 20 and 30 years old. In addition, it is designed for the romantic one-piece. This paper perceives the national spirit revealed in the Chinese traditional patterns and designs with the combination of traditional culture and modernized technique of expression.

• Cartoon and Animation Studies
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• s.14
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• pp.83-99
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• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.110-119
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• 2008

A lobby of a hotel is an important space by which the image of a hotel as a whole, the brand-identity, is determined. This study has researched and analyzed the special property in presentation of a landmark in a hotel lobby for its spatial factors, which affects visual cognition, and it is to provide information that can set out the foundation of space design for the appropriate landmark in a certain hotel lobby corresponding to the unique characteristics of a hotel. The regional range of this study includes the lobby spaces of 10 five-star hotels in Shanghai China and Seoul Korea. The types of spatial factors as landmarks and manifestation of those, which affect the visual cognition of the users are the range of context in this study. For this study, field-study and survey were both used in research. The results that have been concluded through this study are as follow. First, manifestational quality of a landmark in a hotel lobby is represented in its size, figure and contrast of 'shape', in its visibility and territory of 'space' and in its symbolic value and historical property of 'meaning', and each of those factors are related to the others. Secondly, the types of spatial factors in a landmark are displayed as being focused on the openness of the space or with large-scaled spatial factors. Light and lumination intensify the manifestation of various spatial factors in a landmark. Thirdly, each representational characteristic of spatial factors in a landmark, which are closely linked to each other should be controlled precisely in order to bring out functional and symbolic feature of a hotel lobby.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.63-69
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• 2002

The Second Namsan Tunnel required renovation. The landscape design was conducted as part of the comprehensive programs for renovation. The landscape design covered site analysis, design development, a working drawing and a maintenance plan. In May of 2001, the Second Namsan Tunnel was renovated and reopened to traffic. The tunnel was recreated as a new type of tunnel with function and beauty. The entrance and retaining wall of the tunnel has public character. Users are greatly affected by the entrance and retaining walls along roads. The landscape architect had to find new materials and methods to improve the environment and to combine artwork with the entrance and walls of the tunnel. The surface of the tunnel entrance and retaining walls are artistically treated with ceramic tiles and paint. Various regional characteristics and cultural meaning are symbolically expressed. Or the tunnel entrance from the Joong-gu side, entitled "Glory of the Future", the hibiscus symbolizes the bright and glorious future of Korea. On the retaining walls, entitled "Hope", the promising Joong-gu is symbolized through image of Korean magpies, mountains, rocks, roses, winds and nature. As for the tunnel entrance from the Yongsan-gu side, entitled "Vivid Spirit", pine trees symbolize the Koreans′strong will and an enterprising spirit. On the retaining walls, entitled "Lively Motions", Yongsan-gu is symbolized through image of pigeons, mountains, rocks, roses, winds and clear skys. The entrance and retaining wall of the Second Namsan Tunnel, whose surfaces are treated with tiles and paint with artistic value, would create an atmosphere using large-scale wall paintings. In this artwork, users would perceive a unique sense of place through the symbolic images of the vertical planes of the tunnel.

• The Research Journal of the Costume Culture
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• v.10 no.3
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• pp.213-235
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• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.

• Architectural research
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• v.19 no.1
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• pp.13-19
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• 2017

In banquets of royal courts held in the late Joseon Dynasty, a procedure that follows the customs as well as physical components to follow that procedure were necessary. A noticeable trait of the red blinds(朱簾) is that they are seen in the naeyon(內宴) types of banquets, which is mostly centered on the queen dowager and relatives, and they function as a makeshift facility that divide the different banquet spaces according to the hierarchy of the royal family. Furthermore, the red blinds within the court played an important role in the procedure of the banquet along with the incense, as it was drawn upon the queen dowager's appearance to signal the beginning, and folded out again to signal the end. This indicates that they were of higher importance within the banquet space. The red blinds used in the playacting stage of the royal court not only segmented the space, but also upon being taken down, expanded and integrated the banquet hall, thereby maximizing the playacting stage. Once the banquet was finished, the red blinds within the court were once again folded out so as to restore dignity to the space. The red blind is a symbolic item that could open the private space of the court so as to enable communication with the public space, and also close it off to restore privacy. Also, the layout of the banquet space was divided by the red blinds into primary, secondary, and tertiary hierarchal space, according to the status of the royal family and the banquet attendants. In other words, the red blinds played an important role in its the symbolic meaning in the national precedent as well as distinguishing the hierarchy of space within the naeyon banquet in the royal court.

• Journal of Oriental Neuropsychiatry
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• v.11 no.1
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• pp.103-113
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• 2000

The aim of this study is to review the concepts of Jing(精) Qi(氣) Shen(神) Hun(魂) Po(魄) in the light of the Jungian psychology. According to the explanations of the Jungian psychology human beings have archetypes-a priori conditioning factors-in the collective unconscious. These archetyps are concerned with common concepts conceived by mankind about the fundamental elements which constitute the universe and the existence. The archetype is perceived in a symbol, hence Jing(精) Qi(氣) Shen(神) Hun(魂) Po(魄) also are these symbolic representations which had common background of mankind. The meaning of Jing(精) is emphasized as psychic and physical elements, and concerned with instinct. Qi(氣) corresponds to Jung's definition of libido as life energy. The concept of Shen(神) has the value of the self archetype as whole psyche's president principle. Hun(魂) and Po(魄) are intuitive notions of the Orient compared with Animus and Anima which are characteristic representations. However from a standpoint of autonomous energy as archetype the difference would be diminished. Considering each purpose of Hun(魂) and Po(魄) Hun(魂) has a intention of integrating the unconscious flux into consciousness while Po(魄) has a tendency toward instinct to secure a body. It is precious to recognize deeply that these concepts of jing(精) Qi(氣) Shen(神) Hun(魂) Po(魄) play an important part which mediate between the unconscious and consciousness, psyche and body as symbols.

• Journal of the Korean School Mathematics Society
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• v.16 no.4
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• pp.841-862
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• 2013

This study analyzed issues in the mathematics curriculum concerning the cognitive development of the vector and inner product concepts in the light of Tall's and Watson's research(Tall, 2004a; Tall, 2004b; Watson et al., 2003; Watson, 2002). Some suggestions in teaching the vector and inner product concepts were elaborated in the terms of these analyses. First, the position vector needs to be represented by an arrow on the coordinate system in order to introduce the component form of a vector represented by a directed line segment. Second, proofs of the vector operation law should be carried out by symbolic manipulations based on the algebraic concept of a vector in the symbolic world. Third, it is appropriate that the inner product is defined as $\vec{a}{\cdot}\vec{b}=a_1b_1+a_2b_2$ (when, $\vec{a}=(a_1,a_2)$, $\vec{b}=(b_1,b_2)$) when it comes to considering the meaning of the inner product relevant to vector space in the formal world. Cognitive growth of concepts of the vector and inner product can be properly induced through revising explanation methods about the concepts in the curriculum in the basis of the above suggestions.

• Archives of design research
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• v.12 no.1
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• pp.97-106
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• 1999

As the Production technology Progresses, the necessity to consider consumers needs being complex and diverse in the phase of developing product is being more important. However, existing system of consumers needs being structured with the view of marketing is too abstractive and categorical to apply in the phase of developing product. So, the goal of this study is to establish method that structuralize customer's needs for applying practically in the phase of the product concept development and to suggest guidelines to needs structuralization with emphasis on the view of cognitive science/cognitive psychology. The major findings of this study is summerized as follows. First, to structuralize not only customer's needs category which being used as standard to assort needs in existing way but also practical needs features, it must contain the concept of emotion that is actual product's meaning to customers in its structure, and for this reason, the structuralized needs with emotions can be defined as emotional needs structure. Second, categorization of concept will be divided as essential concept and referential concept centering around symbolic concept, and from this supposition, emotional needs structure can be composed as benefit concept(essential concept), customer needs(referential concept) centering around emotion(symbolic concept).