• The Mathematical Education
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• v.42 no.5
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• pp.637-646
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• 2003

Visual representation is very important topic in Mathematics Education since it fosters understanding of Mathematical concepts, principles and rules and helps to solve the problem. So, the purpose of this paper is to analyze and clarify the various meaning and roles about the visual representation. For this purpose, I examine the status of the visual representation. Since the visual representation has the roles of creatively mathematical activity, we emphasize the using of the visual representation in teaching and learning. Next, I examine the errors in relation to the visual representation which come from limitation of the visual representation. It suggests that students have to know conceptual meaning of the visual representation when they use the visual representation. Finally, I suggest some examples of problem solving via the visual representation. This examples clarify that the visual representation gives the clues and solution of problem solving. Students can apprehend intuitively and easily the mathematical concepts, principles and rules using the visual representation because of its properties of finiteness and concreteness. So, mathematics teachers create the various visual representations and show students them. Moreover, mathematics teachers ask students to design the visual representation and teach students to understand the conceptual meaning of the visual representation.

• The Mathematical Education
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• v.45 no.3 s.114
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• pp.263-273
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• 2006

The purpose of this paper is to research the factors and the effects of immediacy in mathematics teaching and learning and mathematical problem solving. The factors of immediacy are visualization, functional fixedness and representatives. In special, students can apprehend immediately the clues and solution using the visual representation because of its properties of finiteness and concreteness. But the errors sometimes originate from visual representation which come from limitation of the visual representation. It suggests that students have to know conceptual meaning of the visual representation when they use the visual representation. And this phenomenon is the same in functional fixedness and representatives which are the factors of immediacy The methods which overcome the errors of immediacy is that problem solvers notice the limitation of the factors of immediacy and develop the meta-cognitive ability. And it means we have to emphasize the logic and the intuition in mathematical teaching and learning. Clearly, we can't solve all mathematical problems using only either the logic or the intuition.

• Current Optics and Photonics
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• v.4 no.6
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• pp.540-544
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• 2020

Current two-dimensional (2D) augmented reality (AR) devices present virtual image and information to a fixed focal plane, regardless of the various locations of ambient objects of interest around the observer. This limitation can lead to a visual discomfort caused by misalignments between the view of the ambient object of interest and the visual representation on the AR device due to a failing of the singular fusion. Since the misalignment becomes more severe as the depth difference gets greater, it can hamper visual understanding of the scene, interfering with task performance of the viewer. Thus, we analyzed the range of singular fusion (RSF) of AR images within which viewers can perceive the shape of an object presented on two different depth planes without difficulty due to the failure of singular fusion. It is expected that our analysis can inspire the development of advanced AR systems with low visual discomfort.

• Journal of the Ergonomics Society of Korea
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• v.28 no.3
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• pp.49-54
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• 2009

Visual occlusion method is a visual demand measuring technique which uses periodic vision/occlusion cycle to simulate driving environment. It became one of the most popular techniques for the evaluation of in-vehicle interfaces due to its robustness and cost-effectiveness. However, it has a limitation in that the vision/occlusion cycle forces the user to use the IVIS at a predetermined pace, while a driver decides when to use the device on his/her own in actual driving. This paper proposes a user-driven visual occlusion method for measuring the visual demand of in-vehicle interfaces. An experiment was conducted to examine the visual demand of an in-vehicle interface prototype using both the existing (system-driven) occlusion method and the proposed (user-driven) one. Two in-vehicle tasks were evaluated: address input and radio tuning. The results showed that, for the radio tuning task, there were significant differences in total shutter open time and resumability ratio between the methods. The user-driven visual occlusion method not only allows a better representation of drivers' behavior, but it also seems to provide more information on the chunkability of a task.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.10a
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• pp.721-724
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• 2011

A prototype needs to show the requirements of the users and help them understand better. These prototypes are useful in a variety of industries. But most existing prototypes depend on the visual representation. This method of visual expression has a limitation, which can't express the detailed contents. This paper suggests an expression method of linguistic formation as an alternative. The prototype of linguistic expression can demonstrate the detailed contents of the requirements, keep a good communication among those who are related to the project, and allow them to deal with a large number of possible problems which may happen from the developing process. As it's also easy to make the developing process documented, the prototype will be helpful to improve the software development.

• Korean Journal of Remote Sensing
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• v.16 no.4
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• pp.327-338
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• 2000

The forest conditions of North Korea has been a great concern since it was known to be closely related to many environmental problems of the disastrous flooding, soil erosion, and food shortage. To assess the long-term changes of forest area as well as the canopy conditions, several sources of multitemporal satellite data were applied to the study area near Kaesung. KOMPSAT-1 EOC data were overlaid with 1981 topographic map showing the boundaries of forest to assess the deforestation area. Delineation of the cleared forest was performed by both visual interpretation and unsupervised classification. For analyzing the change of forest canopy condition, multiple scenes of Landsat and SPOT data were selected. After preprocessing of the multitemporal satellite data, such as image registration and normalization, the normalized difference vegetation index (NDVI) was derived as a representation of forest canopy conditions. Although the panchromatic EOC data had radiometric limitation to classify diverse cover types, they can be effectively used t detect and delineate the deforested area. The results showed that a large portion of forest land has been cleared for the urban and agricultural uses during the last twenty years. It was also found that the canopy condition of remaining forests has not been improved for the last twenty years. It was also found that the canopy condition of remaining forests has not been improved for the last twenty years. Possible causes of the deforestation and the temporal pattern of canopy conditions are discussed.

• Cartoon and Animation Studies
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• s.32
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• pp.221-244
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• 2013

The purpose of this study was to concentrate on macroscopic discussion about how the recurrence of actual case in move is accepted ideologically. When considering the characteristic that non-visual factors are embodied when movie image reflects a certain target, the issue of recurrence has always caused discussion. Regardless of its independence or dependence, one individual's experience can be similar to sensual recognition but it can't be identical. Therefore, 'the truth recurred by movie' can't be real 'truth'. When director expresses the target, the aesthetic intention gives an effect to audience's emotion and recognition, Therefore, the study tries to review whether the movie truth drawn by movie can reach the possibility of epistemology agreement.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.