• Electronics and Telecommunications Trends
• /
• v.33 no.1
• /
• pp.11-19
• /
• 2018

IoT is used not only as a technical terminology but also as a paradigm representation. As the number of IoT devices spread tremendously throughout the world, they are able to be located anywhere,recognize their environment, and achieve adaptable reactions. All market investigation agencies expect the number of IoT devices to reach tens to hundreds of billions in number. They also expect various technical problems owing to the huge number of connected things and data that will emerge during the AI era. The decentralization of centralized computing for AI is the one of the technical solutions to such problems, and the computing roles for AI will be soon distributed into the things, which can be located anywhere. In this article, the traditional distributed intelligence and its current research activities are introduced, and the next distributed intelligence target for the IoT 2.0 era is briefly touched upon using the keyword Socio-Things.

• Journal of architectural history
• /
• v.12 no.4 s.36
• /
• pp.49-62
• /
• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.

• Korean Journal of Human Ecology
• /
• v.9 no.3
• /
• pp.371-382
• /
• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• Language and Information
• /
• v.8 no.1
• /
• pp.163-182
• /
• 2004

Since metaphor was proposed to be a matter of thought instead of language over two decades ago, the research in this area has made most of its progress by the cognitivists. For the cognitivists represented by Lakoff, metaphor is not a mere poetic or rhetoric device, but is central to our everyday language. Furthermore, according to them, we categorize the world and break it into concepts mainly through metaphors, and truth conditions simply cannot account for metaphor. However, this cognitivists' view has been severely counterattacked by the truth-conditional semanticists. Their main criticism is that the cognitivists do not provide a way to go from our internal representations to the outside world. It is also criticized that the cognitive theory of metaphor as cross-conceptual domain mappings is too broad and general, and that they do not explain why a particular metaphorical expression should be subsumed under one mapping rather than another mapping, i.e., their schemes and structural relations are not predictive. In this context, the purpose of this paper is to propose a model for metaphor interpretation that combines the virtues of the two opposite views of metaphor. Truth-conditional semantics cannot ignore cognitive aspects of language, so-called states of affairs or mental representations, while cognitive theories cannot neglect vigorous representation of meaning with objective reality. This paper will try to present a preliminary outline of this combining model.

• Journal of the Korean Society of Costume
• /
• v.50 no.6
• /
• pp.163-175
• /
• 2000

This study focuses on the Zen style in contemporary fashion which presents itself as one of the dominant cultural phenomena these days. After investigating the basic concepts and features of the Zen style and examining its birth and development, this study moves on to the ways in which it is characteristically applied for the world of fashion. This study is also performed both by the theoretical research on related books and papers for the explication of main concepts and by the practical research on fashion magazines and works of famous fashion designers for the presentation of more detailed illustration. When we are talking about postmodernism, which is a reaction against or a continuation of modernism, as a cultural dominant shown up in the late twentieth century, the Zen style itself can be regarded as a typical representation of postmodernism in fashion. Although the Zen style can be viewed as sharing the basic principles with minimalism which is a main branch of modernism, it is strongly in line with postmodernism (which is human-centered) in that its fundamental idea is based on emotions and feelings of human beings and the purity of natural world. As above, ZEN is a crossover phenomenon between postmodernism and modernism. In this sense, it is said that within the name of postmodernism the Zen style has satisfied our desire to present our inner world of mind with the help of regional philosophy (in this case Oriental one). The four main aspects of the Zen style in fashion are following : simplicity connected with the Oriental moderation, the use of the Oriental silhouette and detail, the destruction of form, and the nature-friendly attitude. These will be under close examination in this study.

• Journal of Korean Theatre Studies Association
• /
• no.52
• /
• pp.159-188
• /
• 2014

Under the influence of postmodernism, modern writing tends to refuse an immediate conveyance of messages achieved by linear, unified writing. Such writing does not attempt any social participation and has no leading ethics, offering diverse perspectives. It simply relies on material property ignoring the 'here and now'. This discussion depends on the sensuous immediacy of works that are pure and uninterpretable, causing the "death of author" phenomena. Although the time was late, since the 1990s, discussion and work on deconstructive theater has been executed in the Korean theater world. This deconstructive work was achieved when lineal narratives were shattered through the shocking insertion of fragmentary episodes and imagery. Moreover, such plays were shocking presentations of severance in conversation; lack of communication; loss of pride and love; and a world devastated by violence and madness. In the 2000s, such a movement helped form a new paradigm in the theater through reinterpretation and parody of traditional dramas, while drawing general attention to postmodern theater. However, as the problems of postmodern theater are perceived through study, the limit of plays with a postmodern tendency is pointed out: such plays merely display 'deconstruction'. This thesis will examine reflective thought on postmodern theater seeking "deconstruction without alternatives" and the aesthetic concept of "le politique" by Jacques Ranciere. It will also look through the overlap of images as interval-estrangement, "lettre morte", and simulacre representing mise-en-scene aesthetics weaving "political writing". This study is meaningful in that it tries to extend the new aesthetic horizon of Korean theater, examining in 2009 and by Koh Sun-Woong in 2011, directed by Park Chung-Hee in 2010 and directed by Park Keun-Hyung in 2009.

• The Research Journal of the Costume Culture
• /
• v.17 no.4
• /
• pp.583-599
• /
• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.

• 지역과문화
• /
• v.7 no.1
• /
• pp.183-208
• /
• 2020

Presenting symbolic concepts consistent with the culture of the host country and international trends at international events will win the favor of the world and raise the image of the host country. The international event mascot symbolically represents the host country's unique culture, and is a good means to enhance the sense of belonging and pride of its members and to display the image of the host country in an outwardly. This study discussed the symbolic elements of the host country characteristics reflected in FIFA's World Cup event mascot. A total of 14 mascots of World Cup events were held from 1966 to 2018, and their materials can be divided into animals, plants, people and creations. The mascot was applied with the characteristic elements of regional specialties, the flag of the host country, symbolic attire, language of the hosting area, social issues and the mascot's dress, posture, props and expression characters of soccer events were used as symbolic elements. First of all, the implications of the research were that mascots were more strongly expressing the "football" signifying element, the theme of events, rather than regional characteristics. Second, the use of 'national flag' was highlighted among the elements of expressing regional characteristics. Third, 'animal' was preferred for mascot material. Fourth, mascots have become integrated with 'cultural perfumes' and play an extended role in raising social awareness. Implications derived from the classification of characteristics and symbol representation elements raised in this study will be used as a basis for the planning of international event mascots.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.4
• /
• pp.25-36
• /
• 2019

Contemporary architecture is showing its deconstruction and departure from modern architecture based on rationality, such as reductionism or virtualism. This means a shift from a mechanistic and ecological world view to an organic and ecological view, from a deterministic reason to a reason for a possible secret static. This study examines the potential of fractals, a scientific theory of complexity that is emerging as a new paradigm in the 21st century, as an appropriate alternative to contemporary complexity architecture. The method and scope of this study were understood and its features were identified through literature and data research and prior study review. Based on the organic nature of fractal geometry, we analyzed the works of contemporary architects(Frank Gehry, Bernard Tschumi, Steven Holl, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Zvi Hecker, Ito Toyo) and studied the possibility of architectural design using the principle of fractal. As a result, fractal geometry, similar to the patterned order of nature, has an infinite set of organizational functionalities in architecture and can be applied in various aspects of design analysis. Architectural designs based on the fractal theory will require more research and development to realize dynamic design representation using digital computers.

• Journal of the Korea Furniture Society
• /
• v.27 no.2
• /
• pp.128-136
• /
• 2016

Digital designs that appear in the three-dimensional virtual space by the digital type are designed as there is not an image created with an organic artificially generated (Creation) and representation (Modifying), developed by the specific environment given. The advanced digital design will produce a result with an algorithm according to a mathematical operation and the environment and has the nature of generating the real world, changes, development and affinity (Genetic Process). The digital design process is largely defined by a set of processes that are consistently designed to integrate form of creation, reproduction, proceeds in three steps, while the manufacture and assembly as a form of maintenance as possible the intended form of control data from the concept of building. By Joris Laarman 3D printer design is a simulation created by the digital process by the various algorithms and design achieved through the development of 3D printers, such as new materials and MX3D. From the mold production of a complex whole by using a robot and other digital production tool extracts a variety of forms.