Journal of the Korean Institute of Landscape Architecture
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v.41
no.4
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pp.24-41
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2013
This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.
This research aims to study Michael Chekhov's acting techniques scientifically, because his techniques has been studied only theoretically or empirically. Especially, this study focuses on 'imagination' and 'Psychological Gesture' from the perspective of cognitive psychology. Chekhov thought 'imagination' as the basis and core of all the works of acting. In cognitive psychology, it is called as 'imagery' and means 'a representation of the mind of the object not communicated by the sensory organs currently'. This study starts with defining imagery and takes a brief look at the features and kinds of imagery. Then the researcher will prove scientifically the possibility of training acting using imagery as Chekhov's assertion. For the proof of the validity of imagery, we'll look for the theoretical evidences-functional equivalence hypothesis, psychoneuromuscular theory, symbolic learning theory, psychophygiological information processing-and experimental ones-measurements of cerebral blood flow or event-related potential, experiments with fMRI(functional magnetic resonance imaging) or PET(positron emission tomography). As a result, we can see that imagery is functionally identical to perception and improves fulfillment of cognitive and physical tasks. As proving physical changes can draw out psychological changes(feeling) on the medium of imagery, we can also see the validity of Psychological Gesture. From the above research, even if Chekhov developed the acting techniques only on the basis of his experience, his techniques can be thought as having scientific validity. Though insufficient, this study can be a help for actors or students as they using Chekhov's techniques.
This research is based on the design of pictures in picture books, and the spatial representation of illustrations in the picture books contains the significantly important objective. Various texts, pictures, spaces, etc. in a picture must have the operator's various editing skills so that spatial arrangement is made smoothly.In this paper, the characteristics of spatial expression of design in picture books are derived by analyzing several examples of paintings and studies on classic picture books. First, the fusion of picture and text, that is, that both picture and text convey spatial information together as elements of the screen. Second, as a characteristic of the coherence of the space design in picture books, the story and content must be smoothly connected when reading the book. Third, when expressing a space, the creator should utilize the strengths and weaknesses of each other between abstract and conceived spatial expressions as needed. Fourth, as a symbolic feature of picture book spatial expression, it can be seen that many symbolic expression techniques are applied to the spatial expression of picture books according to the semiotic principle, which greatly improves the cognitive efficiency of reading picture books. The fifth characteristic is that the spatial expression of an excellent picture book has excellent interesting element, rich design means, and interestingly conveys screen contents and screen format to readers. In this research, it is thought that designers and artists should guide the creation within a spatial framework as designing picture books, thus greatly improving the efficiency of the creation process, while also provide a reader-centered visual Interesting experience.
The purpose of this study was to identity scientific models included in the Earth domain of the $10^{th}$ grade science textbooks. Three earth science-related chapters in each of 11 trade books were analyzed. A framework was developed and used to classify a scientific model from three different perspectives: medium of representation, method of representation, and mobility of a model. Results showed that the science textbooks utilized domain-specific models in which the nature of sub-areas of earth science was embedded. That is, the unit of 'Change of the Earth' included many iconic models that represented the inaccessible inner structure of the earth and the movement of the tectonic plates. These were also two-dimensional pictorial and static models. In the chapter of 'Atmosphere and Oceans', symbolic and diagrammatic models were dominant in use, which included weather maps and contour line graphs of sea surface temperature and salinity. The unit of 'Solar System and Galaxies' showed the highly frequent use of iconic and analogical models for the large-scale celestial objects and their movements. Implications for earth science education and relevant research were discussed.
Journal of The Korean Association For Science Education
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v.31
no.6
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pp.931-941
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2011
This study aimed to examine the effects of argument-based chemistry laboratory investigations using the Science Writing Heuristic (SWH) approach on students' use and embedding of multimodal representations in summary writing. Participants of this study were thirty-nine freshman students majoring in science education at a National University in Korea. Argument-based chemistry laboratory investigations using the SWH approach were implemented for twenty-three students enrolled in one cohort, and the traditional chemistry laboratory teaching was implemented for 16 students enrolled in the other cohort. Summary writing samples were collected from students before and after the implementation. Summary writing samples produced by students were examined using an analysis framework for examining the use and embeddedness of multimodal representations. Summary writing was categorized into one of verbal mode, symbolic mode, and visual mode. With regard to the embedding of multi-modal representations, summary writing samples were analyzed in terms of 'constructing understanding,' 'integrating multiple modes,' 'providing valid claims and evidence,' and 'representing multiple modes.' Data analysis shows that the students of the SWH group were better at utilizing and embedding multimodal representations in summary writing as they provided evidence supporting their claims. This study provides important implications on pre-service science teacher education.
Representation of destitution may be considered as an expression of a social desire toward forging a bond or solidarity with the impoverished. However, political and ethical demands of the solidarity force the formulaic framework structuring the form of representation to its limits. The thesis aims to examine the responses to such demands within the tradition of modernist literature that can be traced from Charles Baudelaire, Knut Hamsun to Franz Kafka and that somehow culminates with Samuel Beckett, and to analyze how the issue of destitution that weaves through Beckett's works criticizes and inherits such a heritage. Whereas destitution in 19th century Realism is structurally fixed and its potential for change is inherently excluded, for these writers, destitution is no longer the state of rigid reality in which any possibility is limited. It is destitution as an imperative that calls for exploitation of possibilities that can be recuperated from the impoverished condition of destitution. What these writers consistently resist against is destitution that leads to compensation and reward. Since occupying a superior position toward the other as the subject of description or sympathy can be seen as one form of profit or reward, they have persistently pursued absolute solitariness and austere conditions rather than prematurely simulating a sense of solidarity and community. The ultimate goal of destitution as an imperative is to pursue destitution in order to worsen it by identifying and then excluding and expending possessions and assets to a state of penury. This is a paradoxical process that opens up the realm of possibilities of destitution and redefines it as abundance and wealth. Destitution for Beckett as seen in the writers above is the objective of literature. But, what he focuses on is to amplify the shreds of economic world that still remain in a state of poverty and to reveal extreme poverty as a state of odd affluence and to transform it into a pursuit of accumulation and profit. One of his famous axioms, "less is more", contains the essence of such a paradoxical strategy. In a sense, such approach is a twist on the strategy that identifies and uses any remaining potential hidden in destitution as was pursued by other writers. It also expands on the imagination of the destitute described by Hamsun. But Hamsun and Beckett are diametrical opposites. Unlike Hamsun, Beckett does not link imagination with a sense of guilt. Imagination is not intended to overcome the destitute reality nor to culminate in artistic martyrdom as in the case of Kafka's hunger artist. The imagination of the impoverished in Beckett is simply a hilarious game and not an escape that ends in a sense of guilt. This game formulates a "rhetorical question" or derision at the ironical situation where the pursuit of hunger and art as the disinterestedness has been turned into symbolic capital. It is inherently a fundamental critique at the aestheticization of destitution that has been pursued by Modernism. Beckett's efforts at divulging falsehood inherent in non-profit acts such as charity, donation and hospitality are dissections of social fictions in which aestheticization of destitution remains a part of the whole.
The purpose of this study is to examine not only students' cognition in the mathematical error-finding activity of the concept of irrational numbers, but also the students' learning stance regarding the use of errors and a teacher's questioning strategies that lead to changes in the level of mathematical discourse. To this end, error-finding individual activities, group activities, and additional interviews were conducted with 133 middle school students, and students' cognition and the teacher's questioning strategies for changes in students' learning stance and levels of mathematical discourse were analyzed. As a result of the study, students' cognition focuses on the symbolic representation of irrational numbers and the representation of decimal numbers, and they recognize the existence of irrational numbers on a number line, but tend to have difficulty expressing a number line using figures. In addition, the importance of the teacher's leading and exploring questioning strategy was observed to promote changes in students' learning stance and levels of mathematical discourse. This study is valuable in that it specified the method of using errors in mathematics teaching and learning and elaborated the teacher's questioning strategies in finding mathematical errors.
Journal of the Korea Academia-Industrial cooperation Society
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v.15
no.1
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pp.55-60
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2014
The purpose of this paper aim to figure in contemporary human documentary as a cultural aspect of daily life in the era of 1920s in Korea. The significant of documentary exams the record and social-oriented representation methods of important essay of works. The result of an analysis of Norbert Weber's with historical figure of modern Korea society given the appearance of a human observer ever put out a human form of the documentary format in accordance with the configuration of visual narrative and the structure of the recipient to implement the symbolic value of belief. And, the result of the technical expression of the various frame works with the configuration of the reality of importance of human values and describe the experiences of being analyzed.
Journal of the Korea Fashion and Costume Design Association
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v.19
no.2
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pp.129-144
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2017
Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.
21st century is called digital and information era. The visual communication becomes more important than any other centuries. Visual communication design has been represented in varied images from ancient society up until the present time. Especially graphic design, which has experienced artistic upheaval from modernism and postmodernism, has been enabled to deliver messages in a more developed and sensuous appearances. Deconstructionist design wasn't well received by modernism, an advocate of practicality and effectiveness; however, as the beginning of subsequent postmodernism, it started to earn a warm welcome from a number of designers. Postmodernism made it possible for deconstruction to be a new paradigm appreciating neutral respect for varied expressions and designers' idiosyncrasy. Corresponding to this new trend, Edward Fella published his artwork 'Letters on America', which introduced a variety of vernacular design works in America. It was the result of years of research, and included materials which were not something completely new to field of communication design but rather symbolic, deconstructive images available everywhere around us. Deconstruction broke away from the previous modernism's unity and standards, and sought to achieve a new tensional deliverance. As a consequence, images were created in destructive and incomplete forms. Graphic design also complied with this new code and its advent fascinated the artists in the fields of advertising, editorial and poster designs. This paper contends that contemporary graphic design still maintains a deconstructive representation, examines its locality in design works from an aesthetic viewpoint, and researches theoretical approaches to deconstructionist and case studies conducted domestically. There has been incessant critical contradiction in terms of the heritage of deconstruction. I would like to present you with a moment in which you can struggle to decide whether it is a result of an effort to get away from modernism or an offspring of postmodernism.
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