• International Journal of Costume and Fashion
• /
• v.5 no.2
• /
• pp.68-77
• /
• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• Journal of Digital Convergence
• /
• v.14 no.6
• /
• pp.535-546
• /
• 2016

This study examined the relation among orthographic knowledge, phonological awareness, and visual word decoding and encoding abilities. Children aged 5 to 8 years took letter knowledge test, phoneme-grapheme correspondence test, orthographic representation test(regular word and irregular word representation), phonological awareness test(word, syllable and phoneme awareness), word decoding test(regular word and irregular word reading) and word encoding test(regular word and irregular word dictation). The performances of all tasks were significantly different among groups, and there were positive correlations among the tasks. In the word decoding and encoding tests, the variables with the most predictive power were the letter knowledge ability and the orthographic representation ability. It was found that orthographic knowledge more influenced visual word decoding and encoding skills than phonological awareness at these ages.

• Journal of KIISE:Software and Applications
• /
• v.36 no.11
• /
• pp.947-954
• /
• 2009

This paper proposes a novel method that reconstructs a surfel-based object by using visual hull from multiple images. The surfel is a point primitive that effectively approximates point-set surface. We create the surfel representation of an object from images by combining the LDC(Layered Depth Cube) surfel sampling with the concept of visual hull that represents the approximated shape from input images. Because the surfel representation requires relatively smaller memory resources than the polygonal one and its LDC resolution is freely changed, we can control the reconstruction quality of the target object and acquire the maximal quality on the given memory resource.

• Journal of the Korean School Mathematics Society
• /
• v.15 no.3
• /
• pp.535-563
• /
• 2012

This study was conducted to confirm the necessity of analogical thinking and to empirically verify the effectiveness of analogical reasoning through the visual representation by analyzing the factors of problem solving depending on analogical conditions. Four conditions (a visual representation mapping condition, a conceptual mapping condition, a retrieval hint condition and no hint condition) were set up for the above purpose and 80 twelfth-grade students from C high-School in Cheong-Ju, Chung-Buk participated in the present study as subjects. They solved the same mathematical problem about sequence of complex numbers in their differed process requirements for analogical transfer. The problem solving rates for each condition were analyzed by Chi-square analysis using SPSS 12.0 program. The results of this study indicate that retrieval of base knowledge is restricted when participants do not use analogy intentionally in problem solving and the mapping of the base and target concepts through the visual representation would be closely related to successful analogical transfer. As the results of this study offer, analogical thinking is necessary while solving mathematical problems and it supports empirically the conclusion that recognition of the relational similarity between base and target concepts by the aid of visual representation is closely associated with successful problem solving.

• Journal of architectural history
• /
• v.22 no.3
• /
• pp.37-48
• /
• 2013

The purpose of this study is to evaluate Aldo Rossi's work as representation or non-representation, for some hold that the works of Aldo Rossi are representative and others say that they are non-representative. According to the three kinds of novelties appearing after Stephen Pepper's concept, "the breaking of reference" happens, and Aldo Rossi's concept, "the sense of deposition" Rossi's work is uncovered as non-representation. In order to clarify Rossi's work as non-representation, we are going to borrow Pepper's terms, intrusive novelty, emergent novelty, and naive novelty. The breaking of reference accompanies intrusive novelty to bring a sense of representation, emergent novelty to intuit a sense of non-representation, and naive novelty to a sense of newness of disorder. We hope to verify a hypothesis that Aldo Rossi's architectural thought and the architecture come from 'emergent novelty' on the basis of his two books, A Scientific Autobiography and Architecture of the City. Also this paper discusses qualitative aspects rather than visual aspects. The main concepts of emergent novelty are applied to Aldo Rossi's works and his thought. Finally this paper verifies 'the hypothesis' through revealing what Aldo Rossi means by the quality of suspension, the sense of deposition, and idea of the unfinished(repetition). Rossi's work is not textural reference of representation appearing after blocking, but qualitative reference of non-representation.

• The Journal of the Korea Contents Association
• /
• v.12 no.4
• /
• pp.186-197
• /
• 2012

The purpose of the thesis is to answer the question on how the visual image content, being the original content, should be adapted to and represented as a spatial content. The thesis focuses on adaptation as the key in the conversion process of visual image content to a themed space. There are many published studies dealing with storytelling, adaptation from books to movies and TV shows, or from movies to games and vice versa. On the contrary, when it comes to adaptation from visual image content to spatial content, noticeably few studies were done on the method, and fewer studies view adaptation as the prior step of storytelling. This study first defines adaptation, and then applies the methods of Gianetty and Dudley which is further incorporated into the conversion of visual image content into a themed space. It then turns the attention to the characteristics of themed spaces. A case study highlights that a themed space is a spatial representation of the story, image and action in the visual image content, and analyze the type of adaptation made. The study results draws two conclusions; adaptation must be carried out prior to the storytelling of the spatial content; and opposed to a third-person view of the visual image content, the main factor in a themed space is first-hand experience. Thus, the thesis suggests that conversion from visual image content to themed spaces are not merely imitative but is a full range of recreation of a new content. It is expected that more detailed analyses on the particulars will lead to feasible outcome on implementing various methods of adaptation and bring about effective conversions between the visual image contents and themed spaces.

• Korean Institute of Interior Design Journal
• /
• no.19
• /
• pp.53-58
• /
• 1999

The goal of this paper is to understand the visual information process and the characteristics of behaviour of the architectural design process using visual protocol analysis through the actual experiment by the architect. The visual protocol analysis is developed on the basis of the theories of the visual information processing model and visual mental image, which can explain visual representation in architectural design process. A protocol study is reported in which the experimental data by architect is analyzed through the protocol analysis method. The whole design process is divided into the stage of 9 tasks which are classified into 18 visual representatiov. The results about visual cognition in cognitive science are reviewed and summarized, and these findings will help understand the architectural design nature.

• Phonetics and Speech Sciences
• /
• v.5 no.4
• /
• pp.157-169
• /
• 2013

Using a target detection task, this study compared the processing automaticity of phonemes and features in spoken syllable stimuli to determine the primitive representation in speech perception, phoneme or distinctive feature. For this, we modified the visual search task(Treisman et al., 1992) developed to investigate the processing of visual features(ex. color, shape or their conjunction) for auditory stimuli. In our task, the distinctive features(ex. aspiration or coronal) corresponded to visual primitive features(ex. color and shape), and the phonemes(ex. /$t^h$/) to visual conjunctive features(ex. colored shapes). The automaticity is measured by the set size effect that was the increasing amount of reaction time when the number of distracters increased. Three experiments were conducted. The laryngeal features(experiment 1), the manner features(experiment 2), and the place features(experiment 3) were compared with phonemes. The results showed that the distinctive features are consistently processed faster and automatically than the phonemes. Additionally there were differences in the processing automaticity among the classes of distinctive features. The laryngeal features are the most automatic, the manner features are moderately automatic and the place features are the least automatic. These results are consistent with the previous studies(Bae et al., 2002; Bae, 2010) that showed the perceptual hierarchy of distinctive features.

• The Mathematical Education
• /
• v.57 no.1
• /
• pp.37-54
• /
• 2018

Despite the significance of fraction in elementary mathematics education, it is not easy to teach it meaningfully in connection with real life in Korea. This study aims to investigate and analyze 3rd grade students' understanding on unit fraction concepts and on comparison of unit fractions and to identify the parts which need to be supplemented in relation to unit fraction. For these purposes, I reviewed previous studies and extracted chapters which cover unit fractions in elementary mathematics textbooks based on 2009 revised curriculums and analyzed teaching contexts and visual representations of unit fractions. From this point of view, I constructed a test which consists of three problems based on Chval et al(2013) to investigate students' understanding on unit fraction. To apply this test, I selected forty-one 3rd grade students and examined that students' aspects of understanding on unit fraction. The results were analyzed both qualitatively and quantitatively. In this study, I present the analysis results and provide implications and some didactical suggestions for teaching contexts and visual representations of unit fraction based on the discussion.

• Education of Primary School Mathematics
• /
• v.27 no.2
• /
• pp.139-153
• /
• 2024

This analysis was intended to present pedagogical implications related to the guidance of solid figures in elementary mathematics textbooks. The definitions of mathematical concepts and visually represented examples presented in the prism and pyramid units were analyzed. As a result of the analysis, differences were observed in both the method and content of defining mathematical concepts, even though the same curriculum was reflected. Additionally, various forms of visual examples were provided during the learning process of prisms and pyramids. Based on the results of this analysis, it is necessary to understand the definition of mathematical concepts and to teach students in an appropriate manner, considering the goals of each session and the objectives of the activities involved in presenting visual examples.