• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.76-77
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• 2002

• Journal of Science of Art and Design
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• v.3
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• pp.225-247
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• 2001

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.136-137
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• 2005

• Investigative Magnetic Resonance Imaging
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• v.19 no.4
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• pp.205-211
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• 2015

The human heart is a complex organ in which many complicated congenital defects may happen and some of them require surgical intervention. Due to the vast complexity of varied anatomical presentations, establishing an accurate and consistent nomenclature system is utmost important to facilitate effective communication among pediatric cardiologists, cardiothoracic surgeons and radiologists. The Van Praagh segmental approach to the complex congenital heart disease (CHD) was developed in the 1960s and has been used widely as the language for describing complex anatomy of CHD over the decades. It utilizes a systematic and sequential method to describe the cardiac segments and connections which in turn allows accurate, comprehensive and unambiguous description of CHD. It can also be applied to multiple imaging modalities such as echocardiogram, cardiac CT and MRI. The Van Praagh notation demonstrates a group of three letters, with each letter representative for a key embryologic region of cardiac anatomy: the atria, ventricles and great vessels. By using a 3-steps approach, we can evaluate complex CHD precisely and have no difficulties in communicating with other medial colleague. This pictorial essay revisits the logical steps of segmental approach, followed by a pictorial illustration of its application.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.4
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• pp.43-62
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• 1995

This paper is to define what characteristics of modern landscape architecture are in terms of garden design. It is important to understand the characteristics of modern landscape architecture, not only for practical design works but also for design ideology. The characteristics were investigated by anlayzing several crucial drawings of modern landscape architects from the later ninteenth century to the early twentieth century. It is found that modern landscape architecture had been evolved after Neo-classicism in its design language, use of materials and principles. And modern landscape architecture was formulating its own design language not only by borrowing the language from other design fields, such as modern architecture but also by making own vocabulary itself the characteristics of modern landscape architecture were defined as collapse of genre, organic structure, pictorial composition, change of living thing, including those of modern architecture. Modern landscape architects drew their humanistic image on "the garden palette" which pursued artistic sense of creation.

• Archives of design research
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• v.18 no.2 s.60
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• pp.345-354
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• 2005

From the 20th century, as international trade increases with the development of transportation and industries, a standard pictorial language to facilitate exchanges with others in different countries became necessary. However, it is not easy to have a full agreement on a standard pictorial language among different cultures. Therefore, the evaluation of standard pictograms has been the main discussion issue of the 150 since the organization's establishment in 1947. Although the 150 has a test method, 1509186, the participating countries do not follow the test because it does not reflect individual seeing mechanism for decoding pictogram which varies with his/her own experience. This study focuses on the theory of graphic symbol and seeing mechanism, and suggests what should be taken into account in the standardization process. In Chapter 2, the study investigates whether there be any cultural shock as we live in the net culture, and defines what reality is from a digital aesthetics view. What should be studied further is also presented, and a new method for revised international standard by means of analyzing seeing mechanism of decoding pictogram is suggested.

• Cross-Cultural Studies
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• v.45
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• pp.33-54
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• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.

• Journal of Korea Multimedia Society
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• v.6 no.6
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• pp.1088-1099
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• 2003

The syntax-directed translation using semantic actions is frequently used in construction of compiler for text programming languages. it is very useful for the language designers to develop compiler back-end using a syntax structure of a source programming language. Due to the lack of the integrated representation method for a parse tree node and modeling method of syntax structures, it is very hard to construct compiler using syntax-directed translation in visual languages. In this Paper, we propose a visual language compiler generation method for constructing a visual languages compiler automatically, using syntax-directed translation. Our method uses the Picture Layout Grammar as a underlying grammar formalism. This grammar allows our approach to generate parser efficiently u sing And-Or-Waiting Graph and encapsulating syntax definition as one unit. Unlike other systems, we suggest separating the specification and the generation of semantic actions. Because of this, it provides a very efficient method for modification.

• 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.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.