• 논리연구
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• 제22권2호
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• pp.253-290
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• 2019

"논리-철학 논고"에서 비트겐슈타인은 이른바 그림 이론을 제시한다. 그렇다면 그림 이론의 요점이란 무엇인가? 그것은 어떤 철학적 문제를 해결하기 위해 제시되었는가? 나는 이 글에서 그림의 대상과 그림의 뜻은 상이하다는 것, 모사 관계와 투영 관계가 상이하다는 것, 그림 이론은 요소 명제뿐만 아니라 복합 명제에도 적용된다는 것, 그리고 한편으로 그림 이론이 해결하고자 했던 기본적인 문제는 의미 이론의 문제와 진리 개념의 문제이지만 다른 한편으로 더 중요한 문제는 비트겐슈타인이 "부정의 수수께끼"라고 부른 것이었음을 보이고자 한다. 그렇게 되면 우리는 "논리-철학 논고"의 그림 이론이 비유에 불과하고 내용이 없다는 해석이 전혀 옳지 않다는 것을 알 수 있다.

• 한국보육학회지
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• 제18권2호
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• pp.17-32
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• 2018

본 연구는 마음이론 내용이 포함된 그림책을 활용한 이야기나누기 활동이 마음이론 발달과 조망수용능력에 미치는 효과를 알아보고자 하는 데 목적이 있다. 연구대상은 전라북도 J시 소재 유치원 만 5세 유아 38명으로 실험집단 18명의 유아들에게 주 2회씩 6주 동안 총 12회, 마음이론 내용이 포함된 그림책을 활용한 이야기 나누기 활동을 실시하였다. 이야기나누기 활동은 그림책 내용 예측하기 및 듣기, 그림책 속 문제상황 알기, 등장인물의 마음상태 알아보기, 문제해결과정 및 결과 이야기나누기 하기, 등장인물의 마음상태 느끼기, 활동 평가하기 단계로 이루어졌다. 연구결과 첫째, 마음이론 내용이 포함된 그림책을 활용한 이야기나누기 활동은 유아의 마음이론 발달에 효과가 있는 것으로 나타났다. 둘째, 마음이론 내용이 포함된 그림책을 활용한 이야기 나누기 활동은 유아의 조망수용능력에 효과가 있는 것으로 나타났다. 이러한 연구결과는 마음이론 내용이 포함된 그림책을 활용한 이야기나누기 활동이 유아의 마음이론 발달과 조망수용능력 증진을 위한 효과적인 교수학습방법이 될 수 있음을 시사해준다.

• 조형예술학연구
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• 제1권
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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.

• 한국정보시스템학회지:정보시스템연구
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• 제31권3호
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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.

• 미술이론과 현장
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• 제7호
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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.

• 한국콘텐츠학회논문지
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• 제14권10호
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• pp.374-384
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• 2014

유머는 유아의 삶에서 중요한 능력 중 하나이다. 유아의 인지발달과도 관련된 유머는 유아의 양육자와의 애착, 사회적 관계 형성, 긍정적인 자아개념에도 중요한 요인이기 때문이다. 최근 국내에 소개되고 있는 칼데콧 아너상 수상자인 모 윌렘스의 그림책에는 다양한 형태의 유머들이 등장한다. 본 연구에서는 베르그송의 희극성 유형을 기초로 모 윌렘스의 수상작 5권에 나타난 유머 요소들을 분석하였다. 분석 결과, 모윌렘스 작품의 글과 그림에서 형태의 희극성, 움직임의 희극성, 상황의 희극성, 언어의 희극성, 성격의 희극성이 드러났다. 이러한 결과는 순응적 유머를 담은 모 윌렘스의 그림책이 유아, 부모, 교사의 유머 발달에도 긍정적인 영향을 줄 수 있다는 교육적 시사점을 제안하였다.

• 한국문헌정보학회지
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• 제51권2호
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• pp.23-48
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• 2017

그림책은 글과 그림으로 구성되어 언어 텍스트와 시각 텍스트 그리고 상호간의 보완작용을 통하여 의미가 전달되는 독특한 장르이다. 글 작가는 문체를 중심으로 하는 글의 내용으로 작가의 의도를 전개하고 전달하며, 그림 작가는 사물 대상 형상 등에 감정을 이입시킨 그림으로 작가의 의도를 전달한다. 그림은 표면적으로 보여지는 구조와 작가의 철학, 사상 등을 이미지화하여 변용한 심층적 구조에 관한 이해가 병행되어야 한다. 이에 행동주의 심리학자 Arnheim의 시각적 사고이론을 기반으로 그림책의 독서지원서비스를 위하여 사서들이 갖추어야 할 시각적 문식성의 이해를 돕기 위한 방법을 제안하였으며, 이는 사서들의 그림책 서평과 같은 이차자료 작성에 활용될 수 있을 것으로 기대된다.

• International Journal of Advanced Culture Technology
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• 제10권3호
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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.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 1998년도 추계종합학술대회 논문집
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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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• 제6권2호
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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.