• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.88-96
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• 2015

The universe of discourse presented in the visual image is bound up with the experience and culture of parties; its sender and recipient. Signification of visual message is revealed through the mutual independent process. The mechanism where production of signifiant by sender and reception of metaphoric signifiant function unconsciously can be applied to Lacan's theory;"The unconscious is structured like a language". By applying Lacan's metaphoric formula which takes linguistic approach to visual image it is suggested that analysis of signification is possible. This analysis can be a base for seeking varied level of signifiant presented in visual metaphor logically and practically. Metaphoric structure of the signifiant and the matrix analysis can develop a creative idea and propose a practical way for the visual image production. Thus empirical study about nastic response and the future analysis result is expected to be possible.

• Journal of the Korea Society of Computer and Information
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• v.22 no.10
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• pp.189-194
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• 2017

The purpose of this study was to find out the necessary conditions and factors what effect as a society member through the students with disabilities to have a positive and mutual peer relationship with their classmates in the school and by them analyzed formation process and elucidate signification. The research method focused on the data summarized and enumerated through the investigation methods such as two in-depth interviews and two observation activities part, and the data which are commonly stated or observed in the data. The results of this study start that the factors of peer relationship formation between children with disabilities and their with non-disabled children are caused by lack of prejudice or lack of awareness. However, continuous cognizance improvement program, teacher's education guidance, the age have presence sense and subject about friend equating idea was mainly shown of school education or local community.

• Cartoon and Animation Studies
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• s.33
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• pp.127-152
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• 2013

This study is focused on a compositional viewpoint of camera appears in animation feature films through nonverbal communication approach; analyzing the approach would reveal more effective interaction between receivers' and actants' communication. The content of study includes semiological analysis of one of Hayao Miyazaki's master pieces, Howl's Moving Castle, in terms of descriptive structure and interpretation of screen. The semiological analysis methods in this study composes with sequence analysis, actant analysis, disjunction and conjunction analysis, and "shot" in media semiology analysis. Through these analyses, a conclusion has been drawn that a characteristic of interactive symbol connects audience and feature films. This study applies nonverbal communication in compositional viewpoint of camera to bring more effective approach for communication among actants, animation feature films, and receivers.

• Journal of architectural history
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• v.12 no.3
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• pp.149-162
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• 2003

Schulz accepted the existentialist view based on Heidegger's thought and at the same time the objectivist view making fixed this living world, evoking controversies for discussion. He could not see various presentations of the meaning of place because he perceived elements of this world individually. Thus Schulz's mixed system of understanding is sternly different from Heidegger's thought. First, Heidegger suggests that place as existential space represents the occasion revelation of incidents in Dasein. While Schulz recognizes that place is a systematic space predetermined for Dasein. Second, Heidegger interprets the placeness as creative openness in which elements comprising this world face and interact with each other into one. In contrast, Schulz defines each of the elements through signification and regards it as invariable and static. Third, Heidegger perceives that the placeness is expressed with sustainable, complex images through "rift-design" which seeks dynamic interactions between the ground and the world. While Schulz attempts to take "Genius Loci" or "habituated scene" through "gathering" as a concept he regards static and then visualize such structural two factors, producing certain internal images of place. However, limits of Schulz's theory prevent us from exerting complete imagination and discovering the inner creative world of the object. Thus the ultimate goal of paying attention to the placeness, that is, the recovery of individual identity, fails due to the prevalence and abstraction of objectified thinking. In contrast, Heidegger's thought about "openness" is a useful means of realizing the placeness. Openness may be referred to a dynamic coordination in which the earth and the world sustain each other under incessant mutual tensions, but not sticking o each other. "Rift-design" is an openness strategy to cause tense relations by preventing structuralization intentively. This is a creative design that allows seeing original seams of the object.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.491-496
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• 2012

This study tried to analyze symbolism of the work from the title by looking into its linguistic meaning. The title not only exposes artist's thoughts but also speaks for the work subject. Also, it designates the world composed of characters in the work, and further it can be said as endowing overall meaning on the entire work by suggesting possibility of limitless meaning invention as well. As a result of reviewing the symbolism shown at the title after analyzing such points through linguistic contexts, the title named with Adam's language was used for just expressing the essence of characters in the work by transcending time and space, and the title meaning exposed relational aspects between characters and occurred accidents through the association process on 'signifiant' and 'signifie.' These relational aspects are expressed to mutual contraposition, but their relations finally show another one orientation too. In case of the title made by the arbitrary nature of language, a fact could be known that it was results of customs completely unrelated with the practical work and depended on the experience by any accident as being appeared from cultural background of the country where the work was produced. Also, the signification of language occurred in unique regulations and systems, and it was relevant to seeing things through concepts. The proper noun was disappeared, and the symbolism was given again from relational aspects accordingly. It was turn out that similarity between the work and title contained contents of entire work, and played a role of expressing greed in the narrative briefly.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.