• Journal of Information Processing Systems
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• v.2 no.3 s.4
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• pp.178-182
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• 2006

Children exhibit different behaviors, skills, and motivations. The main aim of this research was to investigate children's sensibility factors for icons, and to look for the best typeface for application to Web-Based Instruction (WBI) for e-Learning. Three types of icons were used to assess children's sensibilities toward metaphors: text-image, representational, and spatial mapping. Through the factor analysis, we found that children exhibited more diverse reactions to the text-image and representational types of icons than to the spatial mapping type of icons. Children commonly showedn higher sensibilities to the aesthetic-factor than to the familiarity-factor or the brevity-factor. In addition, we propose a collaborative-typeface system, which recommends the best typeface for children regarding the readability and aesthetic factor in WBI. Based on these results, we venture some suggestions on icon design and typeface selection for e-Learning.

• Architectural research
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• v.2 no.1
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• pp.7-15
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• 2000

A bubble diagram is understood as a graphic medium which bridges program and plan in architectural design process. The role of a bubble diagram is either to generate or to explain a plan in relation to its program. Despite the explicit role of a bubble diagram in architectural design process, what a bubble diagram indicates exactly is very ambiguous. Here I attempt to reveal the nature of the bubble diagram more sharply. My main argument is that the ambiguity of a bubble diagram results from the fact that it is used to range two different types of representational formats. Reviewing the theories of shape recognition and shape representations in vision science, I will also argue that the procedural description of architectural design process should be criticized and that the focus of design method research has to be shifted into the representational format of form description in architectural design process.

• Language and Information
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• v.16 no.2
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• pp.17-42
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• 2012

The issues of compositionality, materialized ever since Frege (1982), are critically re-examined in language first mainly and then in all other possible representational systems such as thoughts, concept combination, computing, gesture, music, and animal cognition. The notion is regarded as necessary and suggested as neurologically correlated in humans, even if a weakened version is applicable because of non-articulated constituents and contextuality. Compositionality is crucially involved in all linguistically or non-linguistically meaningful expressions, dealing with at-issue content, default content, and even not-at-issue meanings such as implicatures and presuppositions in discourse. It is a constantly guiding principle to show the relation between representation and mind, still posing tantalizing research issues.

• Korean Journal of Child Studies
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• v.21 no.4
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• pp.143-158
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• 2000

This study examined whether children's peer representations are associated with peer acceptance and whether attributions and goals are related to representations about behavioral responses in ambiguous provocation and conflict situations. The subjects were 119 5th-grade children responded to 4 hypothetical situations. Results indicated that children's positive representations about peer conduct in ambiguous provocations were related to their higher level of peer acceptance, and positive representations about a friend in conflict situations were associated with their perceived positive qualities of friendship. Children's positive attribution and relational goal orientation were associated with relational behavioral responses. Gender differences were found for some goals and behavioral responses, with girls displaying a more relational goal and behavioral response orientation than boys.

• Proceedings of the Korean Society for Language and Information Conference
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• 2006.06a
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• pp.97-110
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• 2006

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• Korean Journal of Cognitive Science
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• v.11 no.3_4
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• pp.45-55
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• 2000

This study was conducted to examine whether conceptual representational system was implicitly accessed while processing semantically similar but perceptually dissimilar pictures either conceptually or perceptually, The results indicated that the priming effects for the semantically similar picture pairs were found in conceptually driven processing but the effect was not found in data-driven processing. In addition. the semantic priming effect was found with 24 hour delay between the stimuli, The comparison of the recognition ratio and priming effects indicated that the priming effect was largely affected by semantically similar pictures. but recognition was relatively u unaffected, The results suggest that both Perceptual Representational System (PRS) and Conceptual Representational System (CRS) be involved during conceptually driven processing, but both PRS and CRS function independently during explicit recognition.

• Communications of Mathematical Education
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• v.24 no.1
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• pp.49-65
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• 2010

The purpose of this study is to encourage the role of domain to consider the teaching of the concept of functions in modeling real situations. To do this, it is analyzed that how to introduce the concept of functions and linear functions in textbooks treated in the 1st grade and the 2nd grade of middle school. This study also reviewed the role of domain in representational activities for modeling real situations using linear functions. In these reviews, it found that many textbooks do not consider the domain in the equations of functions and these graphs and several text books used linear functions for modeling real situations which are not represented by linear functions contextually. It is concluded that the domain of function is an important concept that will be considered any representational activities for functions.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.12
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• pp.39-48
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• 2018

In modern architecture, the concept is the central axis of the design process, but it is not yet a building. The concept is modified in the process of realization because it captures only a part of reality. However, in the works of some Japanese architects, the concept seems to have become almost a building. In this study, I tried to find the cause of such a contradictory situation centering on House N of Fujimoto Sou, which is a representative architect of such tendency. Specifically, I analyzed the concept of House N by dividing it into aspects of function and representation. The reason for this was to see if the functional aspects of the concept were not modified in the first place, or if the representational aspects of the concept covered the functional aspects. For this purpose, I used WLVAE, which is a visual analysis tool, to analyze the functions of design concepts, along with the analysis of photographs, drawings, and diagrams. As a result of the analysis, House N was also modified to conditions of reality in the process of building, but the initial purity was emphasized in the representation of the concept, so that the building seemed to be very conceptual. This fact suggests that the architect has divided the functional and representational aspects of the concept and has focused on the latter. In conclusion this can be seen as an expression of the architect's interpretation of the relationship between the house and the city through the building.