• Korean Journal of Logic
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• v.22 no.2
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• pp.253-290
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• 2019

Wittgenstein presents so-called picture theory in the Tractatus Logico-Philosophicus. What is, then, the point of the picture theory? What are the philosophical problems which the picture theory tries to solve? In this paper, I will endeavor to show that the object of a picture is different from the sense of a picture, that the representing relation is different from the projective relation, that picture theory is applied to composite propositions as well as elementary propositions and that on the one hand the basic problems that picture theory tries to solve are problem of theory of meaning and that of theory of truth, but on the other hand the more important problem is what Wittgenstein calls "the mystery of negation." From these discussions, we can see that it is not correct at all to interpret that the picture theory in the Tractatus Logico-Philosophicus is nothing but an analogy which does not have a significant content.

• Korean Journal of Child Education & Care
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• v.18 no.2
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• pp.17-32
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• 2018

The purpose of this study is to examine the development of theory of mind on the story sharing with picture books. The subject of this study is 38 five years olds children who are attending C kindergarten in J city, Jeollabuk-do province. It was executed that an twelve sections of storytelling with picture books during six weeks. The storytelling activities were performed with predicting and listening of picture book contents, problem situation knowing and story sharing, feeling of the character mind condition, and activities evaluating. The results were as follows. First, the story sharing with picture books were significantly different between the groups on the development of mind. Second, the story sharing with picture books including theory of mind were effective on the perspective taking ability. The results showed that the story sharing with picture books was effective teaching and learning method.

• Journal of Science of Art and Design
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• v.1
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• pp.11-62
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• 1999

The paper aims to survey some features in the 20th century's semantic analyses of the pictorial representation as a paradigm concept. Here the most typical pattern of paradigms to approach it were thought that one is Referential Semantics which begins with Wittgenstein's Picture Theory, the other, Ontological Semantics concerned with .Langer's Symbol Theory. In the light of paradigm theory, some results acquired are as follows. First, the two paradigms are recognized as those of a mutually different philosophical background. So as far as the researcher is concerned, their arguments are contradictory each other. Second, it must be emphasized that each of them all have a possible aspect of necessary and sufficient requirements. to interpret and analyze the meaning of artistic representation. In result, the Referential and Ontological Semantics can work with a complementary partnership. In short, the referential meaning constructs a infrastructure of the picture, whereas the ontological meaning does it's infrastructure.

• The Journal of Information Systems
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• v.31 no.3
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• pp.1-18
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• 2022

Purpose The purpose of this study is to analize a psychological and behavioral mechanism for using profile picture management in digital service such as social network service. Profile picture management falls under metadata management and is performed only by those who want it. This means that it, is one of the typical makeup-type digital shadow works (DSWs) which have not been studied yet. Design/methodology/approach This study adopts ground theory method(GTM) as research methodology. GTM, which is one of qualitative methodologies, is for developing theories while most survey based methodologies, which are well adopted in much research for information systems, are for validation of theories. By interviewing ten users, the data are collected and analyzed by open coding, axis coding with paradigm model, and selective coding. Findings In result, 39 codes are found and classified into 29 sub classes and 15 classes. These 15 classes are organized by paradigm model which derives core code of profile picture management as 'voluntary management tasks to experience small pleasures with intermittent attention'. Finally, based on the paradigm model and the core code, the story line, which can explain profile picture management, is suggested.

• The Journal of Art Theory & Practice
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• no.7
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.374-384
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• 2014

Humor is an essential ability in young children's life. That is why humor has relation with cognitive development, and humor is the effective factor of attachment, social relationship, and positive self-concept for young children. For this study, the picture books written and illustrated by Mo Willems, Caldetcott Honor Medal winner, were chosen and analyzed. Mo Willems' five winning works were analyzed according to the five elements of humor from Bergson's comic theory. As results, the picture books of Mo Willems include the elements of humor, such as shape, movement, situation and language, and personality. This results suggest that the "adaptive" humor in picture books of Mo Willems should have an educational power to develop a sense of humor to young children, parents, and teachers.

• Journal of the Korean Society for Library and Information Science
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• v.51 no.2
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• pp.23-48
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• 2017

Picture books, as a genre, are characterized by conveyance of ideas through linguistic texts, visual texts, and the complementary interactions between them. The writer of a picture book develops and delivers his or her ideas with textual contents written in a unique style, while the artist conveys the writer's ideas through pictures where things, objects, and figures are imbued with various emotions. Understanding a picture in a picture book requires an understanding of both the structure shown on the surface and the underlying structure that adapts and visualizes the philosophy and ideas of the writer. In light of the discussion above, this study proposes a method to help librarians improve their understanding of visual literacy for picture books, as visual literacy is required for the provision of readers' advisory services regarding picture books. This method, which is based on behavioral psychologist Rudolf Arnheim's theory of visual thinking, is expected to help librarians write picture book reviews or other secondary materials.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Proceedings of the IEEK Conference
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• 1998.10a
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• pp.863-866
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• 1998

In this paper, we proposes Moving Picture Compression reducing bit numbers within the block by probability in 3D-DCT considered of temporal axis. From Delta Modification theory for frequency components, bit numbers within the block(4$\times$4) were properly compressed by using the Probability Entropy. At the result for the proposed algorithm, we could find that the values of PSNR for resolution and the compression rate were better than existing methods.

• Journal of Information Science Theory and Practice
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• v.6 no.2
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• pp.46-61
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• 2018

The mobile social networking application Instagram is a well-known platform for sharing photos and videos. Since it is folksonomy-oriented, it provides the possibility for image indexing and knowledge representation through the assignment of hashtags to posted content. The purpose of this study is to analyze how Instagram users tag their pictures regarding different kinds of picture and hashtag categories. For such a content analysis, a distinction is made between Food, Pets, Selfies, Friends, Activity, Art, Fashion, Quotes (captioned photos), Landscape, and Architecture image categories as well as Content-relatedness (ofness, aboutness, and iconology), Emotiveness, Isness, Performativeness, Fakeness, "Insta"-Tags, and Sentences as hashtag categories. Altogether, 14,649 hashtags of 1,000 Instagram images were intellectually analyzed (100 pictures for each image category). Research questions are stated as follows: RQ1: Are there any differences in relative frequencies of hashtags in the picture categories? On average the number of hashtags per picture is 15. Lowest average values received the categories Selfie (average 10.9 tags per picture) and Friends (average 11.7 tags per picture); for highest, the categories Pet (average 18.6 tags), Fashion (average 17.6 tags), and Landscape (average 16.8 tags). RQ2: Given a picture category, what is the distribution of hashtag categories; and given a hashtag category, what is the distribution of picture categories? 60.20% of all hashtags were classified into the category Content-relatedness. Categories Emotiveness (about 4.38%) and Sentences (0.99%) were less often frequent. RQ3: Is there any association between image categories and hashtag categories? A statistically significant association between hashtag categories and image categories on Instagram exists, as a chi-square test of independence shows. This study enables a first broad overview on the tagging behavior of Instagram users and is not limited to a specific hashtag or picture motive, like previous studies.