• Cross-Cultural Studies
• /
• v.34
• /
• pp.93-114
• /
• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.

• Cross-Cultural Studies
• /
• v.19
• /
• pp.39-77
• /
• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• KIPS Transactions on Software and Data Engineering
• /
• v.8 no.11
• /
• pp.441-448
• /
• 2019

Previous researches on automatic spacing of Korean sentences has been researched to correct spacing errors by using n-gram based statistical techniques or morpheme analyzer to insert blanks in the word boundary. In this paper, we propose an end-to-end automatic word spacing by using deep neural network. Automatic word spacing problem could be defined as a tag classification problem in unit of syllable other than word. For contextual representation between syllables, Bi-LSTM encodes the dependency relationship between syllables into a fixed-length vector of continuous vector space using forward and backward LSTM cell. In order to conduct automatic word spacing of Korean sentences, after a fixed-length contextual vector by Bi-LSTM is classified into auto-spacing tag(B or I), the blank is inserted in the front of B tag. For tag classification method, we compose three types of classification neural networks. One is feedforward neural network, another is neural network language model and the other is linear-chain CRF. To compare our models, we measure the performance of automatic word spacing depending on the three of classification networks. linear-chain CRF of them used as classification neural network shows better performance than other models. We used KCC150 corpus as a training and testing data.

• Science of Emotion and Sensibility
• /
• v.24 no.3
• /
• pp.71-80
• /
• 2021

Previous studies using facial expressions have revealed valence and arousal as two core dimensions of affective space. However, it remains unknown if the two dimensional structure is consistent across ages. This study investigated affective dimensions using six facial expressions (angry, disgusted, fearful, happy, neutral, and sad) at three ages (young, middle-aged, and old). Several studies previously required participants to directly rate subjective similarity between facial expression pairs. In this study, we collected indirect measures by asking participants to decide if a pair of two stimuli conveyed the same emotions. Multidimensional scaling showed that "angry-disgusted" and "sad-disgusted" pairs are similar at all three ages. In addition, "angry-sad," "angry-neutral," "neutral-sad," and "disgusted-fearful" pairs were similar at old age. When two faces in a pair reflect the same emotion, "sad" was the most inaccurate in old age, suggesting that the ability to recognize "sad" decreases with old age. This study suggested that the general two-core dimension structure is robust across all age groups with the exception of specific emotions.

• Cross-Cultural Studies
• /
• v.41
• /
• pp.177-197
• /
• 2015

This study found that La hija del mar (1859) by Rosalía de Castro describes, as the background to the work, the lives of Galicians, along with the movement of the sea, scenes of the coast, storms, and lively plants in Muxía, a small city of Galicia and Cabo de Finisterre. It was shown that the nature of Galicia, as described in the work, is a beautiful site where fishermen and farmers live among the full aroma of plants and flowers, as well as being a subject of fear to the people there. Furthermore, it was also shown through the funeral process, along with a depiction of the natural environment, the unique place of Galicia is part of the traditional heritage that the Galician people have preserved, in which Roman Catholic rituals are mixed with superstitious rites. Moreover, the author shows through a description of the excessive drinking culture of Dionysian rites or Libation rites that Galicia is a land with longstanding and profound folk customs, as well as a special culture. It was proved that the work is a specific representation of the author's perspective. Thus, Rosalía depicts the lives of people and the natural environment, which have not been examined profoundly, although they always existed in Galicia. This provides space where the external reality of Galicia and part of the identity of Galicia can be elucidated.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.4
• /
• pp.39-48
• /
• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• Tunnel and Underground Space
• /
• v.32 no.6
• /
• pp.464-477
• /
• 2022

DFN (discrete fracture network) models that take account of spatial variability and correlation between rock fractures have been demanded for analysis of fractured rock mass behavior for wide areas with high reliability, such as that of underground nuclear waste repositories. In this regard, this report describes the spatial distribution characteristics of fracture networks, and the DFN modeling methodologies that aim to represent such characteristics. DFN modeling methods have been proposed to represent the spatial variability of rock fractures by defining fracture domains (Darcel et al., 2013) and the spatial correlation among fractures by genetic modeling techniques that imitate fracture growth processes (Davy et al., 2013, Libby et al., 2019, Lavoine et al., 2020).These methods, however, require further research for their application to field surveys and for modeling in-situ rock fracture networks.

• International Journal of Computer Science & Network Security
• /
• v.22 no.8
• /
• pp.197-207
• /
• 2022

Given the prevalence of violence in Ukrainian families, measures to prevent parental abusive treatment against children are urgent. It is important to study today's youth awareness about violence within families in order to enhance a culture of engagement with spouses and children in future. The aim of the study is to examine students' reflective experiences and their attitudes towards forms, frequency, causes and effects of parental abusive treatment. During the research the following methods were used step-by-step: theoretical analyses of scientific resources, anonymous questionnaire, quantitative and correlation analyses. According to result of survey 98 students who were interviewed, none of them fell victim of sexual abuse in their families. However, more than a half (51%) of the students surveyed experienced some forms of parental physical punishment. All the interviewed students encountered psychological cases of parental violence. The mostprevalent forms of parental abuse among the interviewees are criticism, negative comparison, emotional detachment, arrogance, intimidation, blackmail and humiliation. The most prevalent consequences of parental abuse among students are anxiety, low self-esteem, insecurity, impatience, suspiciousness, constraint in communication. Students agree that budget limitations, forced labor, criticism, spanking, emotional detachment, ignoring type of communication, reproach, blackmail are acceptable methods of punishment to use when raising their own children. These results clearly demonstrate the problem of the impact of parental abuse on children and its consequences in the future. A virtual dimension of the actualized problem is considered, namely: - virtualization of aggression and cruelty in the postmodern world. - the level of determining the factor of cruelty from the space of virtual culture. - the mirror image of everyday cruelty in the virtual environment; - the phenomenon of video games as a source and context of representation of the factor of cruelty in behavioral realities; - cybercrime as a virtualized result of cruelty in family and everyday realities. - futurological perspectives of virtualization of cruelty in communicative culture in general and in family relations in particular. The postmodern world is fundamentally different from the traditions and culture of the past, primarily due to the development of computer technologies and the virtualization of life in general. So, for example, virtual communities have become, in a certain way, another world, a second reality of life in general. And certain behavioral factors, in particular cruelty in the private environment, became a projection of such a phenomenon as cybercrime. Video games are a unique modern phenomenon, which multipolarly absorb all facets of human potential, communicative tendencies, behavioral and characterological factors, from the warmth of interpersonal relationships to the extreme degree of cruelty.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.779-785
• /
• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Education of Primary School Mathematics
• /
• v.27 no.4
• /
• pp.435-462
• /
• 2024

This study aims to derive educational implications for fostering mathematical creativity in elementary students. To achieve this, proportional distribution problems were presented as multiple-solution tasks, and students' problem-solving processes were analyzed from the perspective of mathematical creativity. The study involved 100 sixth-grade elementary students who were given proportional distribution problems as multiple-solution tasks to analyze their problem-solving methods. The students were grouped based on teacher variables, and the groups were assessed in terms of fluency, originality, and flexibility in mathematical creativity. The characteristics of the collective solution spaces were identified by comparing the frequency of various problem-solving strategies and representation types. The study found that teachers significantly influence mathematical creativity within collective solution spaces. Depending on the teacher, differences in fluency and originality were observed. Collective solution spaces with less reliance on formulaic approaches and higher use of diverse representations scored higher in creativity. Conversely, heavy reliance on symbolic representations was associated with lower creativity. These findings highlight the importance of encouraging various problem-solving strategies and representations within collective solution spaces to foster creativity. The study confirms that teachers play a crucial role in fostering mathematical creativity. Differences in creativity between groups based on teacher variables indicate that teachers impact students' problem-solving approaches. Additionally, relying solely on symbolic representations does not naturally lead to mathematical creativity, underscoring the need to provide students with opportunities to explore diverse mathematical representations. Creating an educational environment that encourages students to experiment with various strategies and representations is essential for nurturing their creativity.