• Korean Institute of Interior Design Journal
• /
• v.22 no.5
• /
• pp.106-113
• /
• 2013

Since the 1960's, diverse movements that oppose the uniform design tendency of modernism appears in Italy. Especially, Gaetano Pesce, who opposed uniformity and standardization that are based on mass production system, had interests in making unique product, not an identical product, while accepting modern production technology. Therefore, the purpose of this study is to comprehend Pesce's design, which creates diversity by arranging contingent, non-predictive, and episodic aspects in creative and acceptance processes according to the intension of the designer within mass production system, as a non-representational characteristic, which appears widely in modern thought and the arts, and examine how it is materialized in detailed design work. The study methods are first examining non-representation with theoretical contemplation and dealing with the design philosophy of Pesce based on the examination. Next, in order to discover non-representational characteristics that appear in the work of Pesce, it examines from introducing worker's creativity, user's possibility of choice, openness in the working process, and the aspects of researching materials. And a specific application method will be drawn through case analysis centered on furniture design. Gaetano Pesce's design that denies the world of representation based on the sameness comes to possess non-representational characteristics that acknowledge contingency and ceaselessly create difference by intentionally arranging during the working process.

• Journal of Science of Art and Design
• /
• v.12
• /
• pp.125-143
• /
• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• Korean Journal of Child Studies
• /
• v.24 no.5
• /
• pp.1-14
• /
• 2003

The present study examined the symbolic levels of early pretense in 67 children from 19 to 48 months of age. Subjects were selected from 3 non-profit, play oriented daycare centers. Children were observed during free play. Age and sex differences were examined with 2-way ANOVA performed on case analyses of individual children. Results showed that the symbolic level of pretense increased with age, but no significant sex differences were found. Some children below 2 years of age showed high levels of symbolic play, presenting the possibility of high levels of representational thinking from this early age.

• Korean Journal of Child Studies
• /
• v.27 no.6
• /
• pp.217-234
• /
• 2006

This study examined variability of gestures and their correlation with vocabulary acquisition in the communication of infants. Subjects were 96 infants, 7 to 24 months of age, residing in Seoul and its vicinity. Instruments were the Communication and Symbolic Behavior Scales (Iverson, et al., 1999) and the MacAuther Communicative Development Inventory-Korean (Bae and Lim, 2002). Data were analyzed by one-way ANOVA and Pearson's Correlation. Results identified monthly changes in types of communicative gesture used by infants: more deictic at younger and more representational at older ages. Deictic gestures were related to size of the receptive vocabulary and size of the whole vocabulary. Representational gestures were related to acquisition of expressive vocabulary, size of the receptive, and size of the whole vocabulary.

• Research in Mathematical Education
• /
• v.25 no.3
• /
• pp.227-244
• /
• 2022

The concrete-representational-abstract integrated (CRA-I) sequence is an explicit approach for teaching students who struggle in mathematics. This approach is beneficial because it assists students in the development of conceptual understanding. This article describes how the approach is used in general as well as its use with a specific geometry concept, area of a rectangle. The author will describe why one might choose CRA-I and the steps needed for implementation. Finally, the CRA-I steps will be shown with a lesson series related to teaching the concept of area. The article will describe lesson activities, methods, materials, and procedures.

• Science of Emotion and Sensibility
• /
• v.26 no.1
• /
• pp.33-42
• /
• 2023

Previous emotion studies employing facial expressions have focused on the differences between age groups for each of the emotion categories. Instead, Kim (2021) has compared representations of facial expressions in the lower-dimensional emotion space. However, he reported descriptive comparisons without statistical significance testing. This research used representational similarity analysis (Kriegeskorte et al., 2008) to directly compare empirical datasets from young, middle-aged, and old groups and conceptual models. In addition, individual differences multidimensional scaling (Carroll & Chang, 1970) was conducted to explore individual weights on the emotional dimensions for each age group. The results revealed that the old group was the least similar to the other age groups in the empirical datasets and the valence model. In addition, the arousal dimension was the least weighted for the old group compared to the other groups. This study directly tested the differences between the three age groups in terms of empirical datasets, conceptual models, and weights on the emotion dimensions.

• Journal of architectural history
• /
• v.7 no.1 s.14
• /
• pp.81-92
• /
• 1998

According to Post-modernists including deconstructivists, as Modernism is changed into Post-modernism, the paradigm is shifted from consciousness to language. The paradigm of consciousness corresponds to representational language, and the paradigm of language to self-referential one. In post-modern age most of architects are wandering what kind of language architecture is. Some theorists contend that architecture is representational, and others that it is self-referential. Allan Colquhoun, who is known as one of the best architectural theorists inUnited States, accepts both the former and the latter, but fails to reveal the meaning and the limitation, of the two languages. Although he believes that the representational language of architecture ('figure') is the source of self-referential language of architecture('form'), he never clearly answers what kind of language architecture. In order to overcome the limitation and the meaning of Colquhoun's figure and form, and synthesize the two language, this essay appropriates Martin Heidegger's some concepts, 'ready-to-hand,' 'present-at-hand' and 'being-in-the-world' to make a theoretical framework for 'image' which prevails over and synthesizes 'form' and 'figure.' Since Image is based upon both 'being-in-the world' and 'ready-to-hand,' it is the source of 'form' and 'figure.' When 'image' is fragmented, the former and the latter emerge. Image is therefore both the former and the latter because it represents and self-refers a world as a reality.

• Proceedings of the KAIS Fall Conference
• /
• 2006.11a
• /
• pp.290-293
• /
• 2006

The goal of research is to propose a framework for drawing data search system which is based on the web. The existing search systems were reviewed in the form of case studies and thereby the limitation were addressed: the unsystematic translation between the presentational building model and the discursive design criteria. besides the limited area in sharing and space. Therefore, a web-based drawing search with common structure which building representational model and building behavior model is proposed. The system contains a number of phases: firstly, a user is required to build a building model with the proposed building representational model and then this model is automatically transformed into an aspect model; secondly, a user is also required to present his query in form of the propose building behavior model by web page; finally, these two models - building representational model and building behavior model - are compared by database data so as to retrieve the proper result.

• Cartoon and Animation Studies
• /
• s.29
• /
• pp.103-128
• /
• 2012

Study about existence of illusion which human beings feel from imitated image based reality have been continuing by copy theory and conventionalism for a long time. Traditional copy theory which had controlled representation theory from plato have explained illusion by similarity of image and representation objects. According to copy theory, image is natural sign unlike language but the late in the 20th century, conventionalism from N, Goodman insists they are not any special similarity between image and representation objects. They insist image and conventional sign just as language. These opposit theory rearranged conventionalism by the entrance on the cognitive science. The copy theory couldn't explain the problem of representational gap between reality and duplication, but photo media makes new paradigm about theory of the illusion. The problem of representational gap was disappeared by CGI images on the base of digital media. We are exposed exquisite duplication for a example, movie, advertisement, printings. Sometimes duplications are more real than the original works. Digital is a non-material object by 0 and 1. Specially real lighting skill and mechanism are copied perfectly by photon mapping skills and the duplications are produced more real than the original works. By disappearance of representational gap, we need new theory model for explaining of digital illusion and copy theory can be the key.

• Korean journal of communication and information
• /
• v.70
• /
• pp.95-131
• /
• 2015

This paper points out the importance and necessity of 'non-representational cultural studies' in South Korea. For this, Stuart Hall's seminal research "Encoding/Decoding" (1980) is to be re-read thoroughly with articulation of his later practices. Along with, this research looks at how non-representational cultural studies can expand the scope of understanding various comtemporary phenomenon of our society usually untold by mainstream cultural studies' themes and methods which focus more on abstract division and representational discourses. Notably, Stuart Hall's influential early writings and practical later engagements could bring us to think more seriously not only where contemporary cultural studies goes but also where cultural studies in South Korea should go. This article narrows the attention into Hall's EC/DC theory and related research-practical activity influenced by his own philosophy. Indeed, cultural studies in South Korea still seems to be almost same as early Birmingham cultural studies especially in the aspects like research direction and theme; however, that is quite unusual in some points. These points are to be explicated by this attempt of following Hall's meaningful life-long trajectory as a cultural activist as well as media theorist.