• 동의생리병리학회지
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• 제32권4호
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• pp.197-210
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• 2018

In order to clarify spatial meaning of Meridian and Collateral theory(經絡學說) within the human body. Meridian Divergence(經別) was studied mainly on "Miraculous Pivot(靈樞) - Meridian Divergence section(經別篇)". Furthermore, the meaning of Meridian Divergence(經別) was investigated based on Symbolic Mathematical Study(象數學). Firstly, Meridian divergence(經別) is associated with brain and Viscera and Bowels(臟腑) which are located in the Central Palace(中宮, Zhong Gong). It draws that Meridian Divergence(經別) is a theory based on Nine Palace(九宮, Jiugong), the spatial theory of Symbolic Mathematical Study(象數學). In this system, Viscera and Bowels(臟腑) were included in Meridian and Collateral(經絡). Secondly, the Central Palace(中宮, Zhong Gong) imparts functionality to Nine Palace(九宮, Jiu Gong). Therefore, brain and Viscera and Bowels(臟腑) in Central Palace(中宮, Zhong Gong) supply Qi and Blood(氣血) to whole Meridian and Collateral(經絡) and also control each Meridian and Collateral(經絡) through Twelve Meridian Divergences(十二經別). Meridian and Collateral Theory(經絡學說) is the theory of Body space. The basic theory of Twelve Meridian Vessels(十二經脈), Three Yin and Three Yang(三陰三陽) signifies six areas of human body space. And Fifteen Collateral Vessels(十五絡脈) connect the six areas of the Twelve Meridian Vessles(十二經脈) through Six Harmonies(六合, liu He). In addition, Meridian Divergence(經別) is also based on Nine Palace(九宮, Jiu Gong). Thus, Meridian and Collateral(經絡) classifies and organically integrates the human body space that is filled with Qi and Blood(氣血) by applying the theories of Symbolic Mathematical Study(象數學). Recently presented Morphogenetic field hypothesis resembles Meridian and Collateral theory(經絡學說). However Meridian and Collateral theory(經絡學說) is considered to be the substantive concept that has relation to treatments based on Meridian points(經穴) which contain the spatial information of Meridian and Collateral theory(經絡學說).

• Architectural research
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• 제19권1호
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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.

• 미술이론과 현장
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• 제5호
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• pp.7-24
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• 2007

The subject is connected with a structure named "The Symbolic" to Lacan, but he denied that the subject is explained simply as a fruit of language and "Other". From his point of view, passing through Subject, De-formation and Crack over it is designated as foundation of generation and creation rather than our destined defect. It should not be understood that subject of "The Real" is a concept of the subject free itself from restraint of "The Symbolic". However, this does not mean he asserts "Subject" is something incapable of being controlled by the unknown power. The problem is that this autonomous existence meets inside of it with something "more than one's own self" by "circulating around itself" like a permanent star. This is the indication of a "stranger in the middle of my privacy", or "extimit$\'{e}$", a coined-word by Lacan. Perhaps "Subject" is nothing more than the name of distance of object which is "too hot" to come close, and of this circulating movement. It's because of this object that the real subject stands against generalization and the subject can't be restored to any place in symbolic order-even though it is empty. The part which is told from Lacan's structural theory, that is to say, an importance to Lacan is that his Subject theory is not suggested or denied as a manual structure. On the contrary, it is a study of the relationship between the settled symbol that included in "real subject which is a unconscious one" and the symbolic subject hold- that is a metaphysical subject in general meaning. In Lacan's enlarged concept of subject beyond symbolic reality, it is noticeable that it gives justifiability to the union of a medium of different nature in artistic expression. We can recognize that the unconscious world is a living space which enables it to be a "condition of human being", not something dark under the surface of water through Magritte's(Rene Magritte, 1898~1967) surrealistic works. In other words, Magritte's art secures a core dimension of human nature through a mysterious gap of conscious and settled space. Magritte's drawings often evokes strange and unsettling feelings in people who view his paintings. This is because routine objects are found in "unsuitable" places from which we usually find them in our everyday lives. "Reality" in Magritte's paintings makes it aware that it is a strained field of concealment and disclosure basically between truths, and we can learn that his behavior to overturn to paint in-visible things is finally an effort to restore the "real subject" to the viewer's reality. In other words, such reversion arouses a nostalgic desire for the objects existing in their original appearance as they are - natural condition that our gaze had not been distorted yet by anamorphic stains. - and the state when we are conscious of them normally. Such desire offers an opportunity for us to get out of mental depression rather than operates to us as an abnormal crack. It's a successive process of effort to search for lost subject and Paradise Lost facing up to reality of subject human that is to be a subject of world and life are ousted from their place by structure and authority of culture.

• 건축역사연구
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• 제20권6호
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• pp.21-39
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• 2011

This research is to analyze the modern warehouses in Gunsan during the Japanese Colonial Period. They were the spatial and urban symbol of City of Rice, Gunsan. The main purpose of this study is to survey the modern warehouses in the original center of city, to find their architectural characteristics and to set up a possibility of reuse. 7 existing warehouse buildings are located at Jangmi-Dong and Jooksung-Dong, and they have been built between 1935 and 1940. The warehouse buildings have a module of 6m and they are generally 12m wide, 24~48m long and 8m high. Their structure is composed of reinforced concrete and wooden truss. All warehouse buildings have a rectangular form. Now the diverse commercial programs occupy the original space. Modern warehouse in Gunsan has the spatial and symbolic value as industrial heritage. Therefore, it is necessary to respect the original value of modern warehouse and to create a reusing space for the current generation. It is also essential to verify restoring possibility of three symbolic warehouse buildings in the harbour that were demolished.

• 한국주거학회논문집
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• 제3권2호
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• pp.1-11
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• 1992

Dwelling house is not only simple shelter but the space involves symbolic feature of myth, religion and ritual. Through this study, compared the Shamanistic ritual space with that of Confucianism in the traditional dwelling houses in korea. The results are as follows: 1) Generally, the symbolism of 'Enthusiasm of Universe' and 'Central Idea' are similar, but 'the object of worship', 'the content of ritual' and 'background' are different. The Shamanistic ritual space is 'Sacred space'. and that of Confucialism is 'respect Space'. 2) As the character of space, Shamanistic ritual space is 'articulated space' and have tendency to seperate from the world. On the other hand, Confucion ritual space is integrated space and have tendency to extend by the feature and scale of the ritual. 3) Examing the supervisor of ritual, woman(housewife) is the center of shamanistic ritual space and man(house holder) is the center of Confucion ritual space.

• Spatial Information Research
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• 제18권1호
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• pp.77-87
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• 2010

시공간 조인은 이동객체와 같이 시공간의 특성을 가지는 데이터를 처리할 때 요구되는 중요한 연산자로, 이동객체들의 움직임을 분석하거나 이동객체들의 시공간적 패턴을 찾는 것과 같이 다양하게 활용된다. 현재까지 실외공간에서의 시공간 조인 질의에 관한 연구는 많이 진행되어왔다. 최근에는 실내측위기술이 발전함에 따라 실외뿐만 아니라 실내에서도 다양한 위치기반 서비스가 점진적으로 제공되고 있으며, 특히 이동객체를 중심으로 다양한 응용 서비스들을 필요로 하게 된다. 하지만 실내공간에서의 시공간 조인에 관한 연구는 아직 전무하다. 본 논문에서는 실내공간에서 실시간으로 갱신되는 이동객체에 대한 연속 시공간 셀프조인 질의와 질의처리 방법론을 제안하였다. 연속 시공간 셀프조인 질의는 주어지는 특정 시간과 공간의 조건을 만족하는 모든 쌍들을 시간이 지남에 따라 지속적으로 갱신하는 질의이다. 본 논문에서는 방이나 복도와 같이 특정한 기호를 중심으로 이동객체의 위치를 표현하며 이러한 특징을 가지는 공간을 기호공간이라 한다. 그리고 방대한 스트림데이터를 효과적으로 필터링하고 관리하기 위한 후보쌍 버퍼 테이블이라는 자료구조와 이를 활용한 질의처리 방법론을 제안하였으며 실험을 통해 타당성을 검증하였다.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 2003년도 ICCAS
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• pp.2687-2692
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• 2003

Recent advancement in information technology requires new interpretations for the space among human, machines and environment. Investigation of space between information and human could lead to the proper ways, in which human and machines meet. Various concepts regarding space have been explored in terms of “virtual reality in cyberspace” and “embodiment in tangible space.” “Mom (embodiment),” space, virtuality, sensation/perception, and interactive technology are some of the key ideas to be explored. Human “Mom” is such a fundamental membrane through which human can interact with the environment physically and mentally. An embodied interaction paradigm, based on “Mom,” is investigated. This leads to interactive technology paradigm. Sound space is an invisible but a tangible space in a sense that it travels in emotional tremors and stimulates new sensations and perceptions. Three cases are introduced to experiment such tangible space as a new and proper interactive paradigm. Also, a historical model of interaction is reviewed, which includes electrical, symbolic, textual, graphical, tangible, and social interaction.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.77-84
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• 2012

Single formative language created by the standardization of industrial society carries a cell constructive aspect. Such space structural form made gigantic buildings, which has a symbolism as an independent object. Such space shows a morphological symbolism by public preference but it did not establish essential meaning of a shape or concentrated relation. In this regard, this paper tries to show organic similarity of structural formality of small commercial space (patterned space), which was made by the continuity of concentrated patterns not an object of dualistic unit features. Therefore, this study analyzed the cultural, commercial and public space based upon systematical concept and features. Systematical space formality that makes multilateral relation between human, environment and a thing is a concentrated view point by relational features not by the cluster displayed by hierarchical features. Systematical space of small patterned space emphasized its appropriateness of expansion and creating diversified spaces unlike gigantic symbolic buildings.

• 한국멀티미디어학회논문지
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• 제22권6호
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• pp.729-737
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• 2019

This study defined the animation space as the concept of map based on the space of Joseph Campbell's heroic narrative. The space in which the animated character exists is an image symbolic language that reflects the inner and outer growth stages of the hero. I focused on the spatiality that plays the role of the power to lead the narrative and examined the meaning as the mediator that leads the heroic narrative. First, 6 spatial variables were derived by observing 'Hero's Journey 'which is used as a basis of US commercial animation scenario. Second, spatial variables are defined as 64 zones and proposed as 'Spatial Map Model of the Hero's Journey' (SMMH). Third, the character space of was applied to 'SMMH', and the change of space utilization rate and spatiality and the narrative meaning were analyzed. This study extended the narrative of animation space which was not actively studied to map concept. It is possible to provide a different viewpoint in animation production and research.

• 한국게임학회 논문지
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• 제12권1호
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• pp.43-55
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• 2012

SNG는 현실의 사용자 정체성을 바탕으로 가상 공간으로 진입한다. 현실의 공간에서 게임공간으로 쉽고 빠르게 진입할 수 있으며, 또한 쉽게 빠져나올 수 있다. 이같은 가상과 현실의 자유로운 넘나듦을 위해 캐릭터와 공간이미지, 게임플레이 등이 모두 상징적 현실성을 띠고 있다. 본 고에서는 이러한 상징적 현실성이 게임 속 가상세계로 구축되어가는 SNG의 게임 플레이 과정에 주목하고, 이것이 보드리야르가 말한 시뮬라시옹의 질서를 따르고 있음을 확인하고자 했다. 분석 결과 SNG는 게임플레이 초반에는 최대한 사실성을 반영하여 게임 공간으로 쉽게 진입할 수 있도록 했으며, 점차 사실성을 은폐하고, 사실성의 부재를 은폐하고 왜곡함으로써 순수한 시뮬라크르의 단계에 이르고 있음을 확인할 수 있었다. 이러한 시뮬라시옹의 질서에 따른 게임플레이 과정은 MMORPG와 같은 기존의 온라인 게임이 순수한 시뮬라크르의 단계로 바로 진입하는 것과 비교할 때, 뚜렷하게 구분되는 SNG의 게임성이라고 할 수 있다.