• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.519-528
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• 2023

The visual characteristics of the World Cup emblem play an important role in conveying culture and identity, highlighting the key elements of the Games, and strengthening the brand image. This study first investigated the visual elements and theoretical background of the emblem through previous studies. Second, the selection of symbolism, shape, and color was the subject of the study. Third, based on the shape-related theory based on the '100 National Cultural Symbols', the analysis was performed using the 'IRI Color Matching Image Scale' as a tool, and a final conclusion was drawn. The World Cup emblem uses a lot of ethnic and living symbols, and the living and ethnic symbols are expressed in a combination. In the beginning, there were many symmetric shapes, but after that it changed to an asymmetric shape. The curved expression form is more used than the straight expression form. And most of the color arrangement image scale distribution shows light, dynamic and modern color arrangement characteristics. In the future, the World Cup emblem design will continue to use national and living symbols. The shape of the emblem should use curves and asymmetric designs, be intuitive, and directly reflect the theme of the competition. In addition, the national flag color should be used as the main color, and other colors should be used as secondary colors. The combination of colors must match the light, dynamic and modern color characteristics of the IRI color scheme image scale.

• Korean Institute of Interior Design Journal
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• v.26 no.2
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• pp.83-91
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• 2017

This study was conducted by the awareness that although interior spaces using the techniques and characteristics of assemblage are excellent means to reveal distinctiveness and identity with preeminent originality which are different from other spaces, there are few domestic studies and literatures on them. The results analyzed by preceding studies and cases on the characteristics of expression of assemblage which appear in the interior spaces of commercial areas can be summarized as follows; First, assemblage expresses identity of spaces with symbols capable of multiple interpretations through the method of integration and repetition of the materials used. Second, it strongly reminds visitors of memories on spaces by producing odd and unfamiliar scenes with such designs as installation art. Third, when it uses ordinary materials, it adds combination, integration, transformation or colors to the materials for extraordinary traits. Fourth, it pursues sustainability through recycling or upcycling by using wastes or natural materials. Fifth, in order to express materials to fit the purposes of spaces, it formulates outcomes with intentional plans. To sum up above analysis results, expressions of assemblage which appear in modern commercial spaces are characterized by expression of symbols with multiple meanings, purse formativeness which fit the purposes and meanings of spaces, play the role of reminding memories on places by producing extraordinary spaces with strangeness and unfamiliarity such as installation art and sometimes show sustainability by using recyclable materials. The results of this study are expected to be utilized as reference materials which suggest directions of approach to interior spaces through assemblage techniques and materials which can be used in various design terms by domestic designers.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.236-282
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• 2002

Among elements of play, there are puppets performances and shadows performance which are replacing actors by puppets and shadows. Puppet performance is characteristic of expressing various movements and symbols at its conveniences by the reduced models of human form with various materials. Shadow performance is realized in various colors that cannot be discovered in other countries by expressing mysterious cubic effect in reflecting the light against various forms. Mansukjung Nolum is a unique shadow performance that has been inherited in Korea. There are found many shadow performances inherited in the northern Europe and South-eastern Asia. Recently the silhouette animation in application of shadow performance is made. In the northern Europe and South-eastern Asia, they performed in white and black color while Mansukjung Nolum is performed in natural colors. Since they adopted the leather materials for making puppets, their opaque feature cannot reflect the colored light. But in Korea we adopted the specially colored semi-transparent Korean paper, which gives the colored shadows to spectators. Mansukjung Nolum consists of three acts for arousing attention of fallen monks destroying the teaching of Buddha. Seosanbakchumji Nolum is a puppet performance inherited in a village in Seosan, Choongnam instead of wandering artists. The story and form of performance in Namsadangpae's puppet play is mostly similar to it, but it is woven by its villages natural environment and specific dialects, reflecting their consciousness in mind. The villagers made the puppets and manipulate them in communicating their wisdom of life between them. Parkchumji Nolum is a kind of integral art combining puppet manipulation, witticism, songs and dances. The hero of Parkchumji discloses the social and structural conflicts of feudalism, in arousing the spectators' rich attention of self-awareness and lessons.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.3
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• pp.31-39
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• 2016

As the computer technology is developed, score-writers that can edit music have more improved functions. A user not only can insert notes, chords, and musical symbols conveniently, but also can listen to music displayed in the score. Existing commercial score-writers make scores look good and play notes through VSTi(Virtual Studio Technology instrument). However chord accompaniment function is so vulnerable that it is hard to know whether or not displayed chords are suitable for music. If a score-writer has a proper function that plays chord sound good to hear, it will be a good reference to band music sheet writers. In this paper, to improve chord playback function in existing score-writers, we propose an algorithm that selects suitable chord tones for chord playback and implemented a program. If we apply this algorithm, the chord play function of a score-writer will be strengthened and resultantly a music sheet writer who makes a band music can make scores more conveniently.

• International Journal of Contents
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• v.10 no.4
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• pp.63-68
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• 2014

In this paper, we propose a smart system that can optically recognize a music score within a document and can play the music after recognition. Many historic handwritten documents have now been digitalized. Converting images of a music score within documents into digital files is particularly difficult and requires considerable resources because a music score consists of a 2D structure with both staff lines and symbols. The proposed system takes an input image using a mobile device equipped with a camera module, and the image is optimized via preprocessing. Binarization, music sheet correction, staff line recognition, vertical line detection, note recognition, and symbol recognition processing are then applied, and a music file is generated in an XML format. The Music XML file is recorded as digital information, and based on that file, we can modify the result, logically correct errors, and finally generate a MIDI file. Our system reduces misrecognition, and a wider range of music score can be recognized because we have implemented distortion correction and vertical line detection. We show that the proposed method is practical, and that is has potential for wide application through an experiment with a variety of music scores.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.866-886
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• 1995

The purpose of this study is to analyze the pattern and the meaning of textiles, and decorative techniques of ikat weaving and dyeing in Indonesia. The textile design also analyzes by examining the method of ikat techniques such as warp ikat, weft ikat and double ikat, and by classifying the style of regions. The most common motifs are geometric designs of spirals, meanders, straight lines, triangles, and circles which are influenced by outside world. Although these motifs or symbols have been evident since prehistoric times, their design and meaning have been continually reinterpreted as changes in the ceremonies and rituals. While motifs such as reptiles, birds, and human figures, depicted in spiral, hooked and rhomb configurations, have been identified among the most resilient features of Indonesian textile design, new meanings have been added to these ancient forms, and designs have been transformed and reinterpreted to suit local conceptions. Since textiles are a visual expression of Indcufsian life, textiles place the individual symbolically within social milieu, identifying rank, family, locality and religious affiliations. Textiles represent a link between the human and the spiritual realm, and a vehicle for the display of sacred and secular potency Ikat textiles play to embody special transforming powers and sacred mediating qualities, providing protection and evoking life-enriching forces for individuals or social group.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.26-34
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• 2005

The systematic way of the boundary thought in Buddhism, when applied to the principles of building, determines certain forms to certain temples, and organizes their topological boundary concept structure - the continuous experience of the visitor from his/her entry bridge(connecting), through the main temple gate(neighbourhood), pavilion gate(including), stairs(continuance), to the arrival at the pavilion of the god of a mountain(spiral), which reconstitutes the Buddhist boundary symbolism and philosophy. The topological boundary spaces of temples are an architectural manifestation of Buddhism's Mahayana boundary concept aspects, whose object is to play a productive and active role in the enlightenment of people, serving the very basic end of the religion. The disciplined topological boundary spaces of the temple, as a reification of the boundary symbolisms of Buddhist topological cosmology, corresponds to Buddha-Ksetra, the highest state of existence in the universe. Visitors to the temple are invited to participate in the world of abundant Buddhist boundary concept symbols, and through this process, is enabled to elevate oneself to the transcendent topological boundary world and have a simulated experience of liberation.

• Archives of design research
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• v.17 no.4
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• pp.327-336
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• 2004

The cultural production of meanings is becoming more and laden with the intricacies of signs and symbols in our times. The idea of 'character' is important as an intermediation for information and an essential characteristic of "the object" experienced through the sence of sight. Character is symbolicin its form but also in its iconic markings. Motion Picture Animation makes Character not just an expression of an image but visual communication that expands the action of meaning piled up, sign upon sign. The analysis of 'character' suggests that motion picture animated characters could play an important role as a cultural mode leading to new styles not merely as an aesthetic mechanism. The study there with analyzed animated character systematically to discem where the sign phenomena shows up in social conventions under the semiotic rigor of Peirce's concepts of icon, index, and symbol.

• The Research Journal of the Costume Culture
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• v.20 no.2
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• pp.263-271
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• 2012

Cultural products reflect a living culture and evolve despite being based on traditional forms only. It is known as traditional cultural expression that portray certain culture groups, materials, spiritual and creativity inspired from their living environment that characterize a society. The old Malay community had a close relationship with their surrounding and environment. Sensitivity towards the nature and surrounding environment moved them into creative people. In designing the local traditional textile, role of the motifs, design and product design play an important element in Malay cultural values. This reflects the symbols and philosophy of the arts and culture and thus becomes the identity of the Malay community, which in general practice their culture and tradition based on Islamic culture and religion. Kelantan and Terengganu are the pioneer states for most producers of Malay traditional textiles. In these states the Pelangi cloths, is one of the unique textiles use and inherited by the Malay communities. Base on history, the Malay rulers and Malay nobility used Pelangi cloth as complementing clothing and ornament in attending various ceremonies and customs in their daily life. In this paper will discuss the specific picture of Pelangi motifs, design and its usage in Malay society in Malay Peninsula through its identification aspect of representations. It shows that this textile represent certain insights of Malay customs and identity.

• Acta Via Serica
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• v.3 no.1
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• pp.119-138
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• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.