• Korean Journal of Cognitive Science
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• v.22 no.4
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• pp.469-494
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• 2011

It is well known that visual objects belonging to the same perceptual category compete for category-specific, limited-capacity attentional resource. However, it remains to be seen how perceptually identical objects interact with each other during visual analyses. Perceptually identical objects might suppress each other as much as categorically identical objects do. Alternatively, they might cooperate to generate a perceptual representation which is long lasting and robust to noise. Such possibilities were tested in the current research with three behavioral experiments using the Stroop task. As results, relative to a single distractor, Stroop interference was diluted by two different distractors of a category while it was enhanced by two perceptually identical distractors (Experiment 1). This redundancy effect disappeared when two different distractors associated with the same response were presented (Experiment 2), and it was not affected by the between- vs. within-hemisphere distractor presentations (Experiment 3). These findings indicate that the redundancy effect of distractors may be mediated by perceptual representations based on hemisphere-independent attentional resources. Overall, the current study supports the hypothesis that Stroop interference is constrained by category-specific attentional resources and further suggests that redundant presentations of a stimulus overcome such attentional constraints by facilitating perceptual processing.

• 한국정보디스플레이학회:학술대회논문집
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• 2008.10a
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• pp.4-4
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• 2008

The progress in flat panel displays over the last two decades has been astonishing. In just 20 years, the LCD-TV grew up from a 2-inch curiosity, to an industry that will sell about 120 million flat panel TV's this year, with viewing area up to 4000 times larger. That success is based on continuous innovation, especially in manufacturing processes. For the next decade to bring another doubling of the business, progress will need to continue in four major areas: Human factors, ecological impact, visual quality, and of course continued drive towards affordability. This talk will detail the technology advances that can allow this industry to meet those challenges. Human factors. Today, we adapt our lifestyle to our technology. People organize their offices, and their homes, around displays. We pass around mobile phones to share images, rather than experiencing them as a group. Billions of newspapers continue to be sold daily. Advances in flexible displays can lead to large portable displays. "New era projection" includes the handheld Pico Projectors that are already on the market, and will ultimately appear integrated in mobile phones the same way cameras do today. "Eco" impact. Today TV's are one of the top energy consumers in a U.S. home, and the fastest growing. Watching a large flat panel TV can cost twice as much as running a large refrigerator. With today's concern about energy consumption, regulations are starting to emerge worldwide to limit TV electrical use. Fortunately, good solutions exist in using light management films to eliminate bulbs, saving power without increasing cost. Going forward, LED backlights will drive another step downward. OLED displays might be the ultimate solution. Visual quality. The color of an LCD-TV is still often considered inferior to a far less expensive CRT. And almost all displays suffer from representing a three-dimensional world on a two dimensional surface. The technology to improve color is available today, and will likely move from premium sets into the mainstream as costs come down. 3D is now arriving in movie theaters worldwide, and that will drive up the demand for similar realistic images in home theaters. And the technology is emerging today for 3D representation to move beyond specialized applications into everyday use, on screens large and small. Affordability. The world takes cost-down miracles for granted in consumer electronics. Each of these other advances will be balanced with a drive for affordability, especially as the market grows in emerging countries. The other three challenges must be met without increasing cost. Putting this all together, the next few years will emphasize "eco friendly" designs, and enhanced images such as 3D. By 2013 we will start to see serious penetration by emissive technologies (OLED, high efficiency plasma, or other), with the "ultimate display" likely not in the market for a decade. Lots of opportunities for innovation remain ahead of us.

• Journal of the Korean Institute of Intelligent Systems
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• v.24 no.5
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• pp.462-469
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• 2014

As a basic study on both engineering applications and representation methods of synesthesia, this paper aims at building basic system which converts a muscular sense into both visual and auditory elements. As for the building method, data of the muscular sense can be acquired through roll and pitch signals which are calculated from both three-axis acceleration sensor and the two-axis gyro sensor. The roll and pitch signals are then converted into both visual and auditory information as outputs. The roll signals are converted into both intensity elements of the HSI color model and octaves as one of auditory elements. In addition, the pitch signals are converted into both hue elements of the HSI color model and scales as another one of auditory elements. Each of the extracted elements of the HSI color model is converted into each of the three elements of the RGB color model respectively, so that the real-time output color signals can be obtained. Octaves and scales are also converted and synthesized into MIDI signals, so that the real-time sound signals can be obtained as anther one of output signals. In experiments, the results revealed that normal color and sound output signals were successfully obtained from roll and pitch values that represent muscular senses or physical movements, depending on the conversion relationship based on the similarity between color and sound.

• Spatial Information Research
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• v.22 no.5
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• pp.43-52
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• 2014

Recently, Big Data is a buzzword in the creative economy generation. The organizations related to spatial information society focus on building the spatial big data systems. As spatial big data is a combination of spatial information and big data, the data visualization is essential in order to utilize them efficiently. One of the great methodologies for data visualization is infographics. Nationally, Chousn.com initiated the infographics news in 2010. Korean Administration Branches also recognized the importance of infographic and they adopted infographics for their briefings from 2013. Internationally, Visual.ly is leading company in the infographics market and they produced noticeable interactive infographics for Egypt Parliamentary Elections results. In the defense part, Guardian's datajournalism of Afghanistan war log was a good example of utilizing infographics. Throughout the research, five requirements are extracted. First source data should have precision and accuracy in terms of time and space manner. Second, infographics images have a compressibility. Third, the infographics is properly processed for military commanders. Fourth, sharing, openness and communication are essential for high quality infographic. Lastly, infographics should be an analytic tool for predicting future event based on the past data. Infographics is not a direct representation of data but an analytic tool for helping user's choice and decision in critical moments.

• The Journal of Korean Association of Computer Education
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• v.21 no.3
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• pp.11-20
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• 2018

One major change in the 2015 revised national curriculum is that computational thinking ability is becoming an essential competency for students. Computational thinking is divided into abstraction, automation, and creative convergence in the curriculum for secondary schools' Information subject. And, the curriculum contains problem solving and programming area. Among the components of computational thinking, data representation emphasizes the ability to structure data and information for problem solving of learners. Pre-service teachers of Information subject at secondary schools also learn how to structure information through diagramming. There are differences in the ability to structure diagrams among students, but the studies on learning methods that help students develop their structuring abilities have rarely been performed. The purpose of this paper is to analyze the differences of abstract thinking disposition and gender perspective among college students. As a result, female students had more concrete thinking disposition than male students. Also, there were gender differences according to the characteristics of diagrams. Differences in abstract thinking disposition also made a difference in structuring diagrams. It is useful for achieving the education purpose of improving computational thinking ability by finding out the differences in thinking tendency between males and females and finding the education method that can complement them.

• Journal of The Korean Association For Science Education
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• v.34 no.4
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• pp.359-366
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• 2014

In this study, we try to examine its features by using the methods of systematic infographics analysis for visualization materials that are used in Physics I textbooks. Thus, after developing the analytical framework infographics, visualization materials is described in the section "information and communication" and have been analyzed separately as "data visualization" and "Infographics." The results of this study are as follows. First, the analysis framework of infographics can be classified contents of the information, visual representation, and media method. Second, the visualization materials that are displayed in the section "information and communication" of Physics I textbook are of higher quality than most schematized data that are graphically, simple information. Third, the features of visualization materials in textbooks have many relations & functions on 'information content', text & metaphor on 'visual element', illustration & comparison on 'expression type', graphic on 'expression mode', printed matter on 'media method', and horizontal & vertical type on 'the flow of attention'. From the analysis results, in the section "information and communication" of Physics I textbook uses a lot of visualization materials, however it does not provide rich infographics but only simple graphical materials. By utilizing the results of the analysis of textbook and analysis framework of infographics, which has been developed through the this study, let us hope that the opportunity to be able to grasp the importance of infographics in science education be provided.

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

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.125-162
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• 2010

This is the study on the 'Theater State' in the Daehan Empire of the Emperor Gochung in the late 1900 with the theatrical concepts of cultural performance theory which has been useful for investigating historical, social, and cultural collective memories and their transformation mechanism in the society. The performance theory is based in the notion, '$Performativit{\ddot{a}}t$', by which the performance can contain vary performance forms. $Performativit{\ddot{a}}t$ is the notion which points up the certain process that can cause the perceptional emotion communication to the performers and audiences in the performance. The spectacle of a society is also understood and presupposed by the $Performativit{\ddot{a}}t$. Generally speaking, the spectacle has been used of explaining the visual cultural experiences in society. Fundamentally, spectacle had resulted from the latin 'spectaculum', which was used to designate theatrical representation in France. In the case of movie, spectacle was the grand show with showy technological attractions. The spectacle have been to show the political and socio-historical relationships in a society. But in my study, I want to start the premise that the cultural performance planed by the Emperor Gochung in the Daehan Empire has the attribute of 'theater state', which can awaken the certain collective emotion to connect the Emperor and his people in the Daehan Empire period of the Emperor Gochung of the late 1900. In addition to it, I search for the historical collective memories of the Daehan Empire. The government of the Daehan Empire was continuing with its efforts to enforce and recollect the imperial images and authority of the Emperor and his Empire to get the approval of the people and international society. The effect of spectacle consisting of theater state was the concrete effort to establish the collective memories of the Daehan Empire by remodelling and rebuilding the Seoul, the capital of the Empire and performing the national ceremony such as the korean pagent(Gae-Dung거둥) and parade to set the portrait of the Emperor(A-Jin어진), the geo-body of the Empire.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.812-825
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• 2008

This article analyzed fashion representations in France posters, especially the late 19th century France when mass consumption cultures arose. That was analyzed by consumers' sexuality supposed in advertisement contents. Female models mainly figured in posters of the late 19th century France made a role to promote consumption, in which female models were emphasized on fashion, for example, erotic robe, unusual hair style and etc. Posters' type in this period were categorized in three types by presenting style of female body and fashion style. The first were targeting female consumers, and that posters represented bourgeois fashion styles and life styles to clear consumers' social status and to present women's consuming power. The second case was targeting male consumers, and that posters figured female models such as available products. In this case, poster artists emphasized female models' sexualities and used fantasies against eroticism of the legs and feet. And third case was targeting female consumers and males', in this case, two different aspects were required to appealing to consumers. One was to use a female sexuality to appeal for male consumers, the other was to modify female models as transcendental being such like a muse admirable and mysterious, through fashion styles for female consumers. In the late 19th century, female body and fashion were spectacular elements in visual arts specifically. This study clarified representations of female body and fashion in the late 19th century posters according to poster's contents and target consumer's sexuality. This was one of the aspects characterizing early advertisement media.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.1
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• pp.55-60
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• 2014

The purpose of this paper aim to figure in contemporary human documentary as a cultural aspect of daily life in the era of 1920s in Korea. The significant of documentary exams the record and social-oriented representation methods of important essay of works. The result of an analysis of Norbert Weber's with historical figure of modern Korea society given the appearance of a human observer ever put out a human form of the documentary format in accordance with the configuration of visual narrative and the structure of the recipient to implement the symbolic value of belief. And, the result of the technical expression of the various frame works with the configuration of the reality of importance of human values and describe the experiences of being analyzed.