• Childhood Kidney Diseases
• /
• 제25권2호
• /
• pp.128-132
• /
• 2021

Morning glory syndrome (MGS) is a rare congenital optic disc anomaly with a characteristic fundal finding with severe visual impairment. It may occur in association with various systemic manifestations, even though most of the reported cases were isolated. A 6-year-old male visited the nephrology clinic with a history of microscopic hematuria and at the age of 12 years, he was diagnosed thin glomerular basement membrane nephropathy by kidney biopsy. After the following years, the patient had progressive deterioration of visual acuity, and diagnosed as MGS. Whole Exome Sequencing of this patient and his mother revealed heterozygous COL4A4 mutations [c.81_86del (p.Ile29_Leu30del)]. It is more reasonable to consider MGS seen in this patient as a coincidental finding of autosomal dominant Alport syndrome. To our knowledge, this case represents the first case report of autosomal dominant Alport syndrome associated with MGS.

• 복식
• /
• 제58권7호
• /
• pp.76-91
• /
• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• 복식
• /
• 제65권6호
• /
• pp.99-111
• /
• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

• 조형예술학연구
• /
• 제6권
• /
• pp.33-59
• /
• 2004

The purpose of this study is to analyze the symbolic meaning of the Tiger in Korean Folk Paintings, Minhwa, (hereafter, Minhwa) connected to its social contexts in Joseon period. Thinking of the Tiger Minhwa as a 'visual language' and regard the Tiger as a 'visual signifier' as well as the united-signifiers such as a Korean magpie, pine tree and so on in Minhwa. This research is to analyze these signifieds, 'Signified', what we say in this paper, have composed its symbolic meaning related to the social 'ideological complexes' and collective consciousness during Joseon period. In a word, the characteristic of the Tiger signifier has changed and spread out from the ideal trend to a worldly one. Since the late Joseon period, the change of the social contexts was, because of the civil classes who recognized the limitation of the Sung Confucianism(the doctrines of $Chi-Tz\={u}$), the predominated ideology of that time. To get rid of their uneasiness, they brought the Shamanism, Taoism and Buddhism at the front which were usually the lower class ideology or belief and tried to construct the collective consciousness and safety of their real lives. Therefore, the trend of this 'common conceptualization' show us the positiveness and flexibility to the Tiger signifier through the variation, appropriation and producing signifier. Moreover, even to the same Tiger, there were various meanings and most of them were concentrated in the meanings as follows ; Beoksa(in Korean term is to drive away evil spirits) and Gilsang, which is the good omen of a luck. All these were based on the value of 'this world'. In conclusion, through this research, the concept of the Tiger as a apotheosis has lowered its statutes and being secularized.

• 한국콘텐츠학회논문지
• /
• 제11권6호
• /
• pp.197-204
• /
• 2011

미디어의 발전 속에서 문자의 사용은 다양한 방법으로 발전해왔다. 인터넷과 모바일의 급속한 성장에 따라 디지털 환경에서 문자언어의 새로운 역할인 시각화와 감정전달이 대두되었다. 의사소통의 편의성을 위한 도구의 한 부분으로 생겨난 이모티콘은 비대면 커뮤니케이션 상황에서 소통문화의 효과적 역할을 한다. 특히 창제 원리상 소통과 나눔의 의미를 내포하며, 단순명료한 형태적 특성을 갖는 한글을 조합하여 만들어진 한글 이모티콘은 그 구조적, 조형적 특성으로 인해 조합과 활용에 편리하여 디지털 커뮤니케이션 환경에서 중요한 시각적 요소의 역할을 한다. 한글 이모티콘은 우리 한글문화의 한 부분이며 매체의 발달에 따른 시각언어의 글로벌화 현상에 비추어 볼 때 국제적 커뮤니케이션 도구로써의 가능성도 충분하다. 개인미디어의 보편화와 미디어의 주체적 사용자의 변화 속에서, 타이포그래피 미디어의 한 부분인 한글 이모티콘의 활용증가와 공공성의 문제를 검토하고자 한다.

• 한국실내디자인학회논문집
• /
• 제24권6호
• /
• pp.96-106
• /
• 2015

Occupying the center of architecture, design, painting and culture, minimalism is aesthetics of essence that reflects modern age but transcends age at the same time. Pursuing minimalist trend like this and covering the range of furniture, interior and architecture, total designer Antonio Citterio is developing minimalist designs of his own. Called one of the 3 greatest furniture designers in the world today, he leads the trend and enjoys high reputation as a world-renowned interior designer and architect. Therefore, the purpose of this study is to analyze and integrate minimalist descriptive characteristics which appeared in interior space of Citterio who pursues minimalist design. As a study method, this study reorganized minimalism from methodological perspective, drew out expressive characteristics of minimalist interior spaces unique to Citterio based on background and influence of Citterio's design and, centering on this frame of analysis, analyzed and integrated interior spaces he designed. The results of this study are as follows; first, in order to overcome problems that can become monotonous in a minimalist space, Citterio provides spatial experiences to feel visual and spatial variations using the ramp and bridge. Second, he created various senses of space with visual and spatial expansion using transparency in the walls made of glass. Third, with linear expressions, he designed modern spaces with beauty of proportion and balance through contrast and emphasis. Fourth, he made constructive expression through exposure of structures or stairs in the space. Fifth, he created sophisticated atmosphere with contrast between natural and artificial materials and emphasis of material properties. Sixth, his design also shows the characteristic of using furniture as the role of adjusting overall atmosphere of interior space, not as separated parts from it. The author hopes that above results of this study will provide new implications for the development of domestic interior design.

• 한국환경복원기술학회지
• /
• 제13권1호
• /
• pp.103-111
• /
• 2010

The study was conducted to examine the possible psychological difference in visual preference for natural landscape depending on the residence characteristic of the visitors, with the aim to use as the reference when creating space for natural landscape. Visitors were classified into three groups, namely, urban, suburban, and rural residents, and their preferred type of landscape was surveyed. The result showed that regardless of their residence the highest preference was to the place with superior natural landscape features, and among such features the common preference was toward the landscapes with horizons and those with animals. Urban and suburban residents showed similar preference pattern, and there was artistically significant difference with rural residents. In this respect, the difference in preference for natural landscapes could be induced between urban and rural residents. Rural residents had similar preference with urban residents in that they both preferred the place with superior natural landscape features, but differed in that the former had significantly higher preference toward the landscapes that have mixed artificial elements. From the above research, the following conclusions can be inferred:for regions that need to create natural landscapes, differentiated visual landscape plans and strategies need to be established taking into account, inter alia, the natural richness of the neighborhood natural environment; for regions that need to conserve and manage natural environment and landscapes, the measures to adjust the natural landscape management plans need to be established taking into account the neighborhood environment of the protected areas and the number of visitors to the region.

• 한국실내디자인학회논문집
• /
• 제17권1호
• /
• pp.110-119
• /
• 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.

• 한국콘텐츠학회논문지
• /
• 제9권2호
• /
• pp.181-192
• /
• 2009

현대미술에 있어서 프린트는 시각이미지 분야에서도 판화가 지닌 특성을 유지하면서도 동시에 대중의 욕구를 충족하고 소통하는 데에 있어서 전위성을 띠고 있다. 그것은 판화의 형식이 르네상스 시기의 라인컷(Line Cut)에서부터 칼라 프린트의 프로세스, 사진, 20세기의 카툰의 시작, 그리고 광고와 예술, 그래픽 포스터로 이어지는 다양한 표현과 매개체의 변화에서 보듯이 고정적이기 보다는 유동적인 매체로서 복잡하고 다양한 문화 지형 속에서 말-언어보다는 개인들의 욕구와 특성을 원활히 소통할 수 있는 시각 언어 행위로써의 그 역할을 훌륭히 수행해왔음을 알 수 있다. 이 연구는 대중문화의 전위언어로서 프린트들, 즉 판화가 정치와 경제 분야에서 첫 번째, 언어와 그림언어간의 특성의 차이들과 그것들이 우리의 감각적인식이나 행동에 어떻게 작용하는 가를, 그래픽 포스터의 구체적인 특성에 초점을 맞추었으며, 두 번째로는 판화예술이 순수 예술로서 그 언어적인 행위를 어떻게 수행해 왔는가를 연구하는 데에 있다.

• Journal of Forest and Environmental Science
• /
• 제30권1호
• /
• pp.152-160
• /
• 2014

The purpose of this study is to investigate and analyze the physical characteristics and tranquility of the valleys located in Gangwon region. For this study we analyzed the field survey data 135 valleys using GIS. The elements for measurement of tranquility were divided into visual elements including terrain, objects, forest, water and auditory elements including noise. These elements were divided further into positive and negative factors. The weight of each element and item was calculated by applying the AHP method. The results of this study are as follows. The length of the valley ranged from 126 m to 17 km, and the elevation ranged from 40 m to 1,800 m. Type of mixed forest was common in the valleys. The depth of the water was over 20 cm in 83% of the total area and most of the water was in good condition in visual quality. Regarding the positive factors of tranquility, the weighted scores of the objects, waterfall sounds and visual transparence of the water were of relatively high value. Relatively high values were also shown in closed and curved topography in the landform, forest type and natural forests. In the negative factors, the weights of the objects and forest elements had high values. Within the facility groups, facility of the river produced a considerable negative. After applying the index of tranquility, the natural physical attributes affected the tranquility value, more than the manmade structures to a much greater degree.