• Korean Institute of Interior Design Journal
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• v.20 no.2
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• pp.120-130
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• 2011

The purpose of this study is to propose cognitive ecological effects of fractal patterns in space design. This study investigated the perception and cognition problems regarding landscape patterns showing fractal properties from the cognitive perspective instead of the traditional speculative approach. In particular, the researcher has verified that fractal geometry theory and fractal pattern concept provide insight in space aesthetic values and cognitive effects. Research results are as follows. First, most environmentally-friendly fractal urban forms provide cognitive connectivity. In particular, this space provides a positive emotional response and preference to humans and displays self-organized complexity. This study found that such complexity of space form has characteristics corresponding to parallel cognitive structures of the human brain. Simultaneously, the researcher suggests that the fractal landscape pattern is an alternative for stiff and homogenized modern space. Second, fractal patterns provide hierarchical connectivity within the brain through continuous difference and repetition. In particular, self-similarities of fractal patterns administer significant visual grouping and coherence in human perception. It can be determined whether scaling coherence facilitates easier organization in cognitive organization. Third, fractal patterns in space design provide the basic method for achieving the connection between concept, construction, and urban factors. As a result, the researcher has suggested that scale distribution of geometrical factors, such as fractal patterns, an be a design method to connect various space typologies.

• Korean Institute of Interior Design Journal
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• v.13 no.6
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• pp.158-166
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• 2004

This study aims to analyze how the color of Korean traditional architecture affects its plasticity. The researcher took (our distant and near photographs of each representative building of each use, measured the colors, and analyzed these using the color perception theory. The results are summarized as follows: 1. When perceiving the entire plasticity of a building, the color of Korean traditional architecture reduces the heavy feeling that may be brought about by the roof's weight, but stresses the solidity of the pillars. This color perception effect displays the visual stability and balanced plastic beauty of the building's facade. 2. When looking at a building up close, the building's color emphasizes the solidity of the major materials used to construct it through a contrast effect, and highlights the characteristics of each building, such as the dignity of its seal engraving, its magnificence, its simplicity, etc. 3. The color of Korean traditional architecture is a major factor that expresses plastic language as it displays topographical level differences and intercepts or opens view through the artificial division of space, etc., according to the building's use.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.63-74
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• 2017

This study is for the characteristic of expression of exhibition presentation in 'The Korean peninsula' which is the Golden Lion Winner at the Venice Biennale in 2014. The Korean peninsula provides two opposite political and economic systems and adaptations of modernism through various multi media images. The curator, Minsuk Cho, presented cinema montage image of Collision for analyzing dynamic exhibition organization and provides the foundation of his theory from Bergson's image and duration to Deleuze's movement-image and time-image which is mentioned from Deleuze's book "cinema 1" and "cinema 2". Furthermore, the Korean peninsula has showed perception-image and affection-image from Eisenstein & Vertov's cinemathology and systemized exhibition presentation. The montage of Collision has maximized the movement from the variety and complexity in a collision and it made difference between information images which are space, time, emotion, intelligence, the tumult between subjectivity and objectivity, fragments from reorganizing itself, and distribution and art images. The limit of montage of Collision's dialectic is not only visual but also space from organic organization but the Korean peninsula overcomes its limit and shows leap of tactile perception and time-reflection from the montage of Collision's dialectic. Therefore, the exhibition of the Korean peninsula presents the conviction of adaptations of modernism.

• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.719-740
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• 2017

Sociocultural and demographic shifts have resulted in a changing perception of older age. Older women, historically subjected to age-ordering rules of dress, have increasingly refused to be marginalized fashion consumers and have been striving to construct a more positive age identity. Although studies have examined consumers' negotiation of marginalized identities, age identity has not received much attention as a type of marginalized identity. This study argues that Pinterest acts as a platform for identity work by allowing older women to creatively reconstruct their sense of self by saving images and organizing them into thematic boards. Drawing on symbolic interactionism theory and notions of digital self-presentation, this paper seeks to explore the discursive practices that older women employ on Pinterest to resist ageist fashion discourses. The sample consisted of 15 fashion-oriented Pinterest profiles of older women. Netnographic inquiry was employed first to examine what images were saved and what thematic boards were created. Three analytical frameworks for visual data analysis were integrated to further scrutinize the visual texts within the thematic boards. The analyses revealed three main themes-rejecting age, accepting age, and consuming age. The themes that emerged formed the basis for an age identity reconstruction process whereby women attempted to bridge the existing gap between older age and mainstream fashion discourse.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.39-47
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• 2003

The purpose of this paper was to analyze and to compare the creativity of Nam-June Paik and Louis 1. Kahn to understand the characteristics of creative people. Both of them got strong supports from their family and close people. As they were not originally from the U.S., political and city environments where they settled in the U.S. for the first time strongly influenced their creative activity. The difference in the creative contexts of Paik and Kahn is that Paik had more visual cues in his childhood due to the rich environments. The various visual cues influenced his wide interests in video arts. In creative process, even though both of them more focused on the beginning stage of creative process, there were differences in creative problem solving styles. Kahn considered the imaging and perception as the most Important working process. For him, intuition(gestalt view) and ideation(generator) are more important than intellectual skill. On the other hand, Paik thought the symbolization(conceptualizer) based on his own experience and philosophy(associationism) was the most important.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.724-733
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• 2022

The purpose of this paper is to explain the recipient's psychology, which results from the operation of media, from the perspective of the fluctuation between immersion and contemplation. Media allow to perceive and speculate about specific objects or meanings. In addition, the media perform the function of expanding or changing the objects of perception and thought. McLuhan or Luhmann's media theory emphasized this function of changing the state of perception by inducing a contemplative attitude. This notion is exemplified by interpretation of the visual media history. In this paper, the cases of film and computer game are discussed. In particular, it is considered that VR media causing strong immersion have also developed in a way that allows recipients to contemplate an virtually constructed reality. The commercialization of Tilt Brush and the experimentation of VR painting artwork are the examples for this dual development.

• Language and Information
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• v.8 no.2
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• pp.113-130
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• 2004

In a prevailing view of meaning and reference (cf. Frege 1892), words pick out entities in the physical world by virtue of meaning. Linguists and philosophers have argued whether the meaning of a word is inside or out-side language users' mind; but, in general, they have taken it for granted that words refer to entities in the physical world. Hilary Putnam (1975), based on his famous twin-earth thought experiment, argued that the meaning of a word could not be inside language users' head. In this paper, I point out that Putnam's argument makes sense only if words refer to entities in the physical world. That is, Putnam did not provide any argument against mentalistic semantics, since he erroneously assumed that meaning, but not reference, was inside our mind in mentalistic semantics. Mentalistic semanticist, however, assume that words pick out their references inside our head (instead of a possible outside world). A number of arguments for the mentalistic position come from psychology: studies on emotion and visual perception provide numerous cases where words cannot pick out entities from the physical world, but inside our head. The mentalistic theory has desirable consequences for the philosophy of language in that some classical puzzles of language (e.g. Russell's (1919) well-known puzzle of excluded middle) are explained well in the proposed theory.

• Journal of Korea Game Society
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• v.13 no.3
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• pp.131-140
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• 2013

The study analyzes how to create stereoscopic image in 3-dimension animation 'Yggdrasil', produced in Autodesk Maya(3D animation software), using Anaglyph method that is the oldest in 3-dimension stereoscopic video production. The anaglyph method help to produce stereoscopic images easily and to give effective 3D effect encoding each eye's image using filters of different colors. In addition, space direction applied visual perception theory expresses necessary distance, depth and speed effectively in 'Yggdrasil'

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.102-105
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• 1999

The purpose of this study is to analyze the meanings and expressional characteristics of space-time concept in modern architecture. As the architecture spaces reflect and represent the characteristics of times, the meaning and modern expression of space-time concept was studied in the developmental process of space concept on the base of the background of philosophy, science and psychology. At the late 19th century, space concept was changed with relative time-space in philosophy and science and the theory of visual perception. In the beginning of 20th century, space-time concept that combined space with time in the process of image open space expanded movement was developed. In modern architecture, it was expressed as the freedom of movement by open space expanded infinitely and/or abstract space without spacial measure, multiple view point by superimposed and/or polyhedric space and kinetic vision by dynamic and/or continuous space.

• Korean Institute of Interior Design Journal
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• no.23
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• pp.132-138
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• 2000

Architecture should deviate from euclidean ideas of abstract space while helping to accommodate individual perceptions and experiences of a given space. Concepts for making space should be cognitively processed. The process of gathering information from the environment represents a new spatial concept as expressed in the cognitive structural relationship between the environment and the individual as the subject of architecture. Additionally, the cognitive experience of space is primarily perceived visually, and visual perception is the basis for information-gathering and decision-making. Therefore architecture should be excluded from the conceptual focus on the existing space design rules, being expressed instead in experimental architectural spaces connected to subjective human experience. While some research has been done on this topic regarding architecture, further study is required in the area of interior design. This study proposes the possibility of composing effective living space through an investigation of cognitive space concept theory and expression elements, and includes a case study of Interior architectural spatial analysis.