• Cartoon and Animation Studies
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• s.14
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• pp.83-99
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• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• Journal of Digital Contents Society
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• v.18 no.4
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• pp.649-657
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• 2017

Hayao Miyazaki provides pleasure which go beyond the barrier of culture and language through realizing pan-cultural and mythical space which can communicate with the audience through unique, aesthetic expression. In his animation storytelling, diverse tangible and intangible symbolic elements based on the traditional culture inherent to Japan are actively utilized, and he provides the audience with the aesthetic pleasure of arbitrary interpretation and contemplation by composing the system of connotative signification through such symbols. In this process, he creates the value of the system of meaning which clearly conveys the mythical message of connotative meaning of the work through the aesthetic form based on the universal experience of confrontation and coexistence. It can be said that this is the communicative value of animation storytelling pursued by Hayao.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.381-389
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• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.858-874
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• 2020

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes's semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes's semiotics theory. Roland Barthes's approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans' costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman's costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.752-765
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• 2022

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers' designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers' design characteristics through Greimas' Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas' and Floch's semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas' semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.17 no.4
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• pp.229-235
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• 2024

Recent years have seen active research on methods for efficiently processing and interpreting large volumes of data in the fields of artificial intelligence and machine learning. One of these data processing technologies, Vector Symbolic Architecture (VSA), offers an innovative approach to representing complex symbols and data using high-dimensional vectors. VSA has garnered particular attention in various applications such as natural language processing, image recognition, and robotics. This study quantitatively evaluates the characteristics and performance of VSA methodologies by applying five VSA methodologies to the MNIST dataset and measuring key performance indicators such as encoding speed, decoding speed, memory usage, and recovery accuracy across different vector lengths. BSC and VT demonstrated relatively fast performance in encoding and decoding speeds, while MAP and HRR were relatively slow. In terms of memory usage, BSC was the most efficient, whereas MAP used the most memory. The recovery accuracy was highest for MAP and lowest for BSC. The results of this study provide a basis for selecting appropriate VSA methodologies depending on the application area.

• Korean journal of food and cookery science
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• v.26 no.4
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• pp.367-380
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• 2010

Various contents of Rosa rugosa Thunb. fruit(0, 10, 20%), which is grown along the seashore of Gangwon province, were applied to apple jams having different sugar concentrations(20, 40, 60%). The resulting jams were analyzed using a sensory scoring test as well as a response surface methodology to identify the optimum conditions for the preparation of high-preference apple jams. The sensory properties based on sense of sight, smell and taste appeared to be linked to the sugar contents. It could be attributed to the presence of flavor compounds and pigments generated from the caramelization of sugar molecules during heat processing. On the other hand, rheological properties such as viscosity and spreadability were associated with Rosa rugosa fruit content, which was also verified by textural analysis of the jams. As the contents of Rosa rugosa increased, the hardness, gumminess, and chewiness of the jams decreased, which eventually might have contributed to the less thick and thus more spreadable sensory characteristics. Sensory evaluation revealed that apple jams were preferred when prepared with $\leq$10% of Rosa rugosa fruit and $\geq$55% of sugar contents. In particular, apple jams containing 10% Rosa rugosa and 60% sugar showed better mechanical qualities as well as higher sensory preference among 10 jams formulated using central composite design.

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

• Journal of The Korean Association For Science Education
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• v.42 no.2
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• pp.201-214
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• 2022

The purpose of this study is to examine the characteristics of model of the experiment in students' open inquiry. The research is a reinterpretation of the data collected from the performance of a three-year research project under the theme of 'school science inquiry' the perspective of model of the experiment. The inquiry activities of a focus group made up of four students have been recorded seven times. The recorded files and transcribed copies were analyzed according to interpretive methods. Students' activities were divided into three modeling of the experiment units, considering the modeling unit that includes the process of starting from the problem until it gets solved. The results of the study include illuminating the dynamic process and characteristics of modeling of the experiment and discussing its educational meaning as a distributed cognitive system at each modeling unit. First, students, instruments, and the primitive form of calculation represented by the interaction between them turned out to be important factors in the distributed cognitive system that constitutes model of the experiment. Second, in the early stages, non-verbal activities were carried out in which students became familiar with instruments, and verbal quantitative signs were created when the activities were sufficiently carried out. The generated quantitative signs became a source of data and confidence that can be referenced in subsequent activities. Third, the specialization of instrumentalization occurred, and factors that were important in inquiry, such as variable control, appeared. The results of the study provide new implications for science education research and education, which have been centered on explanatory models, by unfolding the characteristics of model of the experiment that have not been noticed in science education through students' inquiry.

• Journal of Science and Technology Studies
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• v.13 no.1
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• pp.181-216
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• 2013

This paper tries to analyze technologies of search engine generally, and reveal the additional modes of Korean search engine at the same time. Recently it said that search engine becomes a self-moving and is getting more strong power than the former one existed. There are many difference interpretative views from technological determination to instrumentalism surrounding this system. Search engine invents the technological mode that draws user's attention to make its own expertise reinforce. It is stemmed from the rationality of its own. Especially Korean search engine exposed unique mutation as self-proliferation of it during past a decade, as for example "related keyword" or "real-time popular keyword" service. Its automatic decision aroused democracy matter, now it is not only web guide. How we do make it to serve in democracy, accepting the independent expertise of it simultaneously? We might find new prospect when focusing on interactional modality between engine and human actor, instead counting both as a separate one.