• 한국실내디자인학회논문집
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• 제25호
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• pp.213-220
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• 2000

The meaning of light is not always developed aspect in process of architecture history as essence worth of the architecture. It means that architectural light is not affected simple development of civilization, but it has more complex aspect. The technology of applying architecture has continuous development of society that light is possible to extend quantity by development of technology because light is component not simple material or tools but strong worthy aspect, quality development of architecture comes true by exact understanding and application. Conversion from medieval society to modern society begins at the Industrial Revolution has new skills and materials, the architectural conform general space filled with non-characteristic light, and it gives rising to pursuit Utopia is not exist frequently. In result, light of metaphysical meaning is diminished and exterminated. In other hand light seems to be tools by development of technology in modern society, recovering its own meaning in other aspect. That light makes perfect image of architecture not by finite meaning only for simple space but by expressing strongly point that unify the whole architectural composition. Light is free from partial material of architecture. Light activates major composition through high-technology, and has possibility to carry out the essential worth animate architecture. The light expresses relative speciality for sense of place recognizes major component which the human being lives in and conform the real meaning of architecture.

• 한국실내디자인학회논문집
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• 제17권4호
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• pp.42-49
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• 2008

Design concepts of light can be divided into two respects, visual plastic and metaphysical meaning. The current research focuses on the second respect. The meaning of light is abstract characteristics(for example, divinity, spirituality, or image) ultimately expressed by visual plastic. Because it makes architectural space abundant, it have been expressed frequently in architectural space until now. The purpose of this paper is to conceptualize and explain and arrange the meanings of light in the category that have been expressed in architectural space from ancient to current. The method of this study is content analysis and case study, and this is supplement by theoretical consideration on the meaning of light(relationship between perception and meaning, elements to form meaning etc.). This study consists of three steps. Firstly, through the content analysis of existing literature and documents, 17 meanings of light are confirmed. Secondly, these 17 meanings are defined and explained in 3 categories(symbolic, esthetic, and experiential character). Thirdly, they are additionally explained and articulated by case study. In the result, various meanings of light that have been fragmentarily expressed in architectural space until now is clearly arranged at a glance. Those suggested design concepts will be basic conferential material, available to the interior designers and students who want to utilize the organised study concepts.

• 한국조명전기설비학회:학술대회논문집
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• 한국조명전기설비학회 2008년도 춘계학술대회 논문집
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• pp.89-92
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• 2008

Light is the essential element for people to live and do creative activities in architecture. The meaning of light has been changed as time has changed, and today it has more sophisticated roles. The meaning of light was to create static ambience in the past but it can create dynamic ambience currently. The digital light can be a source which creates this dynamic effects such as a human behavior, thought and weather data, and also creates new realm of spatial experience such as the metaphysical. complex, and illusionary space. These characteristics can be revealed from Proun raum spatial characteristics. This study analyzes the characteristics of proun raum, and also compare such characteristics to the variable meanings of digital light.

• 한국의류학회지
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• 제29권7호
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• pp.926-937
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• 2005

The analysis category of Art to Wear was text analyzed from the research material of 100 projects put together by fashion specialist. The conclusion of Art to Wear was comprehended the general features of it were compared and analyzed from a semiotics context. According to this analysis, the formative features of modern Art to Wear is categorized into three different dimensions from a semiotics light. The formative features of modem Art to Wear in the light of syntactic dimension was divided as an open constructed shape of Space Extension, non-typical Deformation, Geometrical Plasticity. The formative features of modem Art to Wear in the light of semantic dimension express symbolic meaning through metaphorical sign. These sign reflect the body image of the life and death and its objective of Abjection, Hybrid of discultural appearance and the image of Hyper-reality, which are features used to comprehend the inner meaning. The formative features of modem Art to Wear in the light of pragmatic dimension divided the artist emotion and meaning system delivered by Emotive Image, the Phatic Image that arouse inner signification and the Poetic Image which contain artistic and aesthetic meaning within it.

• 한국실내디자인학회논문집
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• 제6호
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• pp.6-14
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• 1995

The purpose of this study is to establish the direction for creating the beautiful and lively space of the reli-gious architecture as a consquence of trying to under-stand the forms of control of the light and the symbolic meaning of the production in the interior space of the re-ligious architecture. The scope of this study has been limited to the natural light and to the establishment of theoretical background by analyzing the essence and method of space formation by the light in a side view of development and psychology and establishing the concept related to the architectur-al space formation of the light as well as researching and analyzing the meaning and the method of production of the light. And at the same time the conclusion has been induced as a guide of verifying theoretical background by analyz-ing the practical use related to the control and the pro-duction of the light through the spot research and the referential materials in a way of case research into 5 do-mestic religious architectures as the subject of research.

• 한국실내디자인학회논문집
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• 제14권4호
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• pp.35-44
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• 2005

Light is the essential and symbolical entity In architecture. But the meaning of light has been changed as time has passed, and today it has plural meaning and more sophisticated role. Since 1960's 'Light and Space Art' has accomplished many successful experiments through light and space as artistic media, and they have changed the understanding of light from the electrical source to the phenomenological energy and sensual medium. And also the role of space in their works takes the more human-oriented field constituted from the coherent relationship of internal parts including human being. Light could be 'an object' and 'material' under 'Light and Space Art' artists' persistent efforts. They revealed another realm of spatial experiences such as extension-the metaphysical space, heterogeneous relationship-the complex space, and dematerialization-the illusionary space. The secondary and inclusive effects by 'Light and Space Art' can be found In the phenomenological architecture, the post-modern architecture, and the immaterial tendency of contemporary architecture. However, the more close connections between 'Light and Space Art' and the specific architectures are still left as a portion aside for the further research.

• 과학교육연구지
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• 제34권1호
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• pp.72-83
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• 2010

이 연구의 목적은 7학년 과학 교과서의 빛 단원에 사용된 화살표의 유형을 분석하고, 화살표의 의미에 대한 중학생들의 개념을 알아보는 데 있다. 중학교 과학교과서 9종의 빛 단원에 사용된 화살표의 유형을 분류하고, 이를 바탕으로 검사도구를 개발하였다. 7학년 학생의 과학 성적에 따라 상, 중, 하 각 2명씩을 대상으로 하여 화살표의 개념을 어떻게 인식하고 있는지 면담법으로 조사하였다. 중학교 과학교과서의 빛 단원에 사용된 화살표의 유형은 물체에서 나온 빛이 눈에 도달하는 과정에 따라 4가지로 나눌 수 있었다. 화살표의 점선과 실선에 대한 개념 이해는 과학성적에 따라 서로 다르게 나타나는 경향을 보였다. 빛이 평면 거울면에 반사하거나 공기와 물의 경계면에서 굴절하여 우리 눈에 들어오는 빛의 경로를 표현할 때, 물체에서 나온 화살표의 실선과 물체가 위치하고 있다고 인식하는 화살표의 점선의 의미를 명확히 제시하여 가르치는 것이 필요하다.

• 영어영문학
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• 제57권4호
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• pp.675-693
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• 2011

In its restricted sense, 'sound poetry' refers to the poetic performance that rejects words and verbal meaning and instead foregrounds the aural materiality of poetry. Behind this seeking for materiality lies a quest for a 'language of presence,' which operates through a denial of signification toward an ideal of the Adamic tongue, a purely emotional and universal language. In the same light, it is argued that sound poetry is a unique and unrepeatable event devoid of meaning due to its directness to the body allowing no intervention of intellectual and semiotic process. But language may involve perceptual meaning as well as verbal or conceptual meaning ascribed to words. This implies that even though devoid of conceptual meaning by means of using grammatically non-articulated sounds, sound poetry cannot but have meaning whose articulation is differently, i.e., iconically made about the aural features of the sounds. Perceptual meaning is unavoidable because everything we are conscious of is a reduced form, a repeatable pattern that works as a sign. 'Language of presence' is then actually impossible, and therefore sound poetry should be seen rather as a fest of diverse perceptual meanings.

• International Journal of Contents
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• 제10권4호
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• pp.18-22
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• 2014

Social network games (SNGs), a rapidly growing online game genre, are built and played on social network sites. SNGs provide an online world for enjoying leisure time and interpersonal communication, and an increasing numbers of college students are involved in such game-playing as a leisure time activity. Despite the popularity, relatively few studies have been conducted to investigate the nature of game players, especially the meaning of such leisure time behavior by college students. This paper's aim was to explore a subjective meaning structure of online social network game play. The means-end chain model was used to link attributes of SNGs to the underlying values of game playing as a leisure activity. The results revealed two emerging end-values: the need for bridging and a sense of belonging. This study sheds light on the meaning of college students' leisure activities when playing social network games.

• 심성연구
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• 제34권1호
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• pp.1-38
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• 2019

가톨릭교회는 1964년에 제 2차 바티칸 공의회에서 '인류의 빛은 그리스도이다'라고 선포하였다. 2002년에 교황 요한 바오로 2세는 '그리스도의 빛의 신비'를 선포했다. 세기를 달리하여 두 번에 걸쳐 그리스도가 빛임을 강조하며 이 시대에 '빛 그리스도', '태양처럼 빛나는 그리스도'에 시선을 고정시켜 그 신비를 깨달으라고 교황은 촉구했다. 이에 본 연구는 묵주기도에서 '빛의 신비'의 상징성에 대한 분석심리학적 고찰을 통해 '빛 그리스도의 빛의 신비'를 산다는 것의 의미를 살펴보았다. 즉 빛 그리스도를 증언하고 있는 성경을 바탕으로 '빛의 신비'가 전개되는 모습을 나타내는 이미지들의 상징성을 연구한다. 그 이미지들은 세례, 가나의 혼인잔치, 하느님 나라, 거룩한 변모, 최후의 만찬이다. '그리스도의 빛의 신비'를 산다는 것은 '빛의 그리스도-상(像)'을 각자 고유의 자기(Self)로 동화시키는 것으로 즉 대극의 체험을 통하여 의식화되고 개성화된 인격으로서 '세상의 빛', '시대의 빛'으로 존재하는 것에 대한 의미를 숙고한 연구이다.