• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.38 no.6
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• pp.561-571
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• 2020

Seven techniques widely used in the geodetic transformations have been reviewed and compared to figure out their theoretical characteristics. A series of numerical tests were performed about four data sets. This was followed by result analyses in terms of transformation residuals and accuracies together with some hypothesis testings based on the student-t distribution to confirm the statistical significance of the techniques. In the case of the transformation between the geodetic frames implemented in the same system, no statistical significance was revealed in the results of the 3D transformation techniques, even if the testing area becomes large as the Asia-Oceania continent. Among the 2D transformations, it was possible for the NTv2 grid modeling technique to deliver improved transformation accuracy. Finally, it was possible from the results analyzed in this study to propose the Helmert transformation to geodetic control points and the NTv2 technique to the 2D spatial data transformation of the geodetic systems.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.434-443
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• 2013

The purpose of this study is to investigate the effectiveness of the way-finding exercise using a map in rehabilitation of cognitive function and activities of daily living in patients with a stroke. For the seven patients diagnosed with hemiplegia from a stroke, we executed the way-finding exercise using a map in the hospital, three times a week for two weeks. Loewenstein Occupational Therapy Cognitive Assessment(LOTCA) and Functional Independence Measure(FIM) were used to measure the cognitive function and performance of activities of daily living before and after intervention. For the visual perception area and the spatial relations of the spatial perception area of LOTCA, scores were significantly higher than before intervention(p<.05). For the walk/wheelchair of locomotion area and the problem solving of the social cognition area of FIM, scores were significantly higher than before intervention(p<.05). The results of this study show that a way-finding exercise for patients with a stroke is a useful therapeutic approach by enhancing cognitive function and performance of activities of daily living.

• Journal of Internet Computing and Services
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• v.25 no.1
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• pp.9-15
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• 2024

As virtual reality technology became popular, a high demand emerged for natural and efficient interaction with the virtual environment. Mid-air manipulation is one of the solutions to such needs, letting a user manipulate a virtual object in a 3D virtual space. In this paper, we focus on manipulating a remote virtual object while visually displaying the object and providing tactile information on the object's weight. We developed two types of wearable interfaces that can provide cutaneous or vibrotactile feedback on the virtual object weight to the user's fingertips. Human perception of the remote virtual object weight during manipulation was evaluated by conducting a psychophysics experiment. The results indicate a significant effect of haptic feedback on the perceived weight of the virtual object during manipulation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.42-54
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• 2014

This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in 'Pilamseowon', 'Pilbongseowon', and 'Gimhaseoseowon' appearing in antique maps, the awareness considering 'Pilam' as 'Pilbong' and 'Gimhaseo' was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: 'a place derives reflected glory from an illustrious human') based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic 'jeungsan field' without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from 'theory of 'Heaven-Man Unity'(天人合一)' representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the 'jeondang hujae(前堂後齋)' arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with 'the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside 'YuSik(遊息)' space and religious space' and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as 'reinforcement of view centrality through composition of windows and doors', 'securement of visual transparency through framing and duplication', and 'realization of hierarchy through height of jaesil toenmaru'. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.86-93
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• 2009

This study analyzes the systematic visual images and factors in and outside of the main courtyard in Byungsan-seowon. The results are as follows; In terms of space distribution, Ip-kyo-dang is located at an elevation of 85m and the distance to Byung-san is 365m. Byung-san with the mean gradient over $50^{\circ}$ looked so stiff, and the east side of that cliff is higher than west. In terms of the angle of elevation relationship between Man-dae-ru and Byung-san draw 10.5 degree and it suits with human scale. The D/H ratio of 1:3 makes the given place very spacious but the linear stiff shape of Byung-san may cause the feeling of closeness. The results of the visual image analysis of the main yard facing Byung-san is very positive with a score of 1.70 in openness, 1.78 in wideness, 1.96 in beauty, 1.96 in harmony for the spacious arrangement which overall, makes the seowon beautiful with many open spaces. There are 4 main implicated factors analyzed which are uniqueness, aesthetic, openness and nature. Out of the total variables, these factors' descriptive ability is 55.90% and the remaining 44.10% is error and peculiarities variables. The factor which contributed most to Byungsan-seowon's main yard's visual preference was the 'aesthetic' with B-values of 0.661 and 0.455 in the nature category.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.

• Journal of the Korean Geographical Society
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• v.42 no.4
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• pp.488-505
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• 2007

The purposes of this research are twofold; 1) to verify spatial differences of tectonic movement using the spatial distribution of earthquakes, and 2) to infer mechanisms that generate spatial accumulation patterns of earthquakes in the Korean Peninsula. The first part of this sequential paper (Park, 2007) argues that the Korean Peninsula consists of four geostructural regions in which tectonic deformation and consequent geomorphological development patterns are different from each other Since this conclusion has been made by terrain analyses alone, it is necessary to verify this suggestion using other independent geophysical data. Because earthquakes are results of movement and deformation of land masses moving in different directions, the distribution of earthquake epicenters may be used to identify the direction and rates of land mass movement. This paper first analysed the spatial distribution of earthquakes using spatial statistics, and then results were compared with the spatial arrangement of geostructural regions. The spatial distribution of earthquakes in the Korean Peninsula can be summarized as the followings; firstly, the intensity of earthquakes shows only weak spatial dependency, and shows large difference even at adjacent regions. Secondly, the epicenter distribution has a clear spatial accumulation pattern, even though the intensity of earthquake shows a random pattern. Thirdly, the high density area of earthquakes shows a clear 'L' shape, passing through Pyeongannam-do, centered at Pyeongyang, and Hwanghae-do, Seosan and Pohang. The correlation coefficient between the density of earthquakes and distance from geostructral region boundaries is much higher than those between the density of fault lines and distance from tectonic division boundaries. Since fault lines and tectonic divisions in the Korean Peninsula are the results of long-term geological development, there is an apparent scale discrepancy to find significant correlations with earthquakes. This result verifies the research hypothesis that the Korean Peninsula is divided into four geostructral regions in which each has its own moving direction and spatial deformation characteristics. The existence of geostructural regions is also supported by the movement parrerns of land masses estimated from the GPS measurements. This conclusion is expected to provide a new perspective to understand the geomorphological developments and the earthquake occurrences in the Korean Peninsula.

• Design Convergence Study
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• v.16 no.4
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• pp.81-98
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• 2017

This study starts from the judgment that the evaluation about preserved flower package design has to be performed based on the product attribute. The principles and components of package design are reestablished from preceding researches, the product type model is suggested based on the product attribute. The 6 principles of package design are usability, esthetic element, attracting attention, creativity, identity and implication, and the 5 components of package design are form, material, color, graphics and branding factors. The product types are classified into 4 areas following the 2 axises. The 1 axis means the degree of perception risk on acquiring information and the other means the approaching type to expected effects about products. The characteristics of package design components are analyzed from the cases belonged at each area on the product type model. Based on the this model, the strategy of preserved flower package design is drawn. At last the package of 'Preserville' is analyzed, we find out the critical points and suggest the intention point in planning the preserved flower package.