• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• Journal of Elementary Mathematics Education in Korea
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• v.17 no.2
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• pp.207-223
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• 2013

Teachers unfold a series of timeless mathematical symbols such as 5+2=7 in time by verbalizing the symbols in classrooms. A number sentence 5+2=7 is read in Korean as '5 더하기 2는(five plus two) 7과(seven) 같다(equals). Unlike in English, 5+2 and 7 are read first before the equal sign in Korean. This sequence of reading in Korean conflicts with the conventional linguistic sequence of writing from left to right. Ways of resolving the discrepancy between reading and writing sequences can make a difference students' understanding of the equal sign. Students would be in danger of perceiving the equal sign as an operational symbol, if a teacher resolves the discrepancy by subordinating reading sequence to linguistic convention of writing. This way of resolving results in the undesired phenomenon of changing the reading expressions in Korean elementary math textbook which represent relational notion of the equal sign into other reading expressions that represent operational notion of it. For understanding of relational notion of the equal sign, the discrepancy should be resolved by changing writing sequence in accordance with reading sequence. In addition, teaching of verbalizing the equal sign should be integrated with teaching of verbalizing inequality signs.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.94-101
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• 2012

Design reflects the time and cultural trends and thus can have different symbolic significance and functions depending on the perspective. While this is evident, corporations still insist that designers achieve viewers' complete understanding and satisfaction in their designs. Also, they refuse to accept the designers' interpretation on the grounds that they are subjective and incomplete interpretations even when in fact they are of superior intellectual standard. This problem is also found among the designers dealing with the clients. Thus, as long as all they are willing to accept is the fallibility of each other, the clash between designers and users is inevitable. To solve these problems, we need to have more objective and logical framework for achieving collective understanding on the interpretation of designs and symbols from the very stage of their development. The graphic design is a tangible product that represents the cultural phenomenon and needs to be interpreted as visual symbols. This makes the graphic design a semiological subject. Thus, a semiological approach will enable more analytical interpretations of polysemy of visual symbols. In this light, this study seeks to apply a semiological approach to suggest criteria for interpreting graphic designs as symbols. The criteria will serve as a useful tool for rational evaluation as well as strategic design development.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.18 no.12
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• pp.2831-2838
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• 2014

This paper proposes the off-line handwritten flowchart symbol recognition algorithm by type and strength of a cross region of the straight line strokes that is extracted based the normalized dominant slope vectors. In the proposed algorithm, first of all, a connector symbol which consisted only curves is recognized by the special features, and the other symbols with straight line strokes are recognized by type and strength of a cross region, and that is extracted by extension of minimum bounding rectangle of the clusters of the normalized dominant slope vectors, and the straight line strokes of the symbols is extracted by the normalized dominant slope vectors. To confirm the validity of the proposed algorithm, the experiments are conducted for 10 different kinds of flowchart symbols that mainly used for computer program, and the number of symbols is 198. Experiment results were obtained the recognition rate of 99.5%, and the flowchart symbols is recognized correctly robust to variations, and then the proposed algorithm were found very effective for off-line handwritten flowchart symbol recognition.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1062-1071
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• 2016

Olympic uniforms emphasize aesthetics along with sports fashion trends and tendencies to display national competitiveness through colorful designs that use the national flag or colors as motifs. Korea needs to enhance the national brand through international sporting events such as the 2018 PyeongChang Olympic Games (30 years after the 1988 Seoul Olympic Games); therefore, a multilateral analysis is required to promote a global image of Korea. This study presents a development direction for more diverse national brand values for Korea through design research on Olympic uniforms. Research methods investigated the concepts and changes of the Geongongamli, and Taegeuk symbols as well as Olympic uniforms based on literature data and existing studies using uniforms. An Olympic uniform using symbols of the Korean flag was designed through a case analysis of Olympic uniform designs of countries that participated in the 2012 London Summer Olympic Games and 2014 Sochi Winter Olympic Games that reflect the countries' image. The research scope excluded uniforms for the actual games and limited the uniforms to official uniforms for the opening ceremony that represent the characteristics of each country; consequently, we analyzed 70 uniforms of 162 countries of the Winter Olympic Games. As a result, official national symbols were more frequently reflected than unofficial symbols in the uniform designs of the Summer and Winter Olympic Games with more frequencies of direct reflection than indirect reflection. Korea's national brand is expected to enhanced through a uniform that expresses Korea's image at international events and global exchanges.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.13 no.10
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• pp.1997-2003
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• 2009

Methods for effective musical score recognition and efficient editing of musical scores are demanded because functions of computers for researches on musical activities become more and more important parts in recent days. In the conventional methods for handling musical scores manually, there are weak points such as incorrect score symbols in input process and requirement of much time to adjust the incorrect symbols. And also there is another weak point that the scores edited by each application program can be remodified by a specific application program only. In this paper, we proposed a method for automatic musical score recognition of printed musical scores in order to make up for the weak points. In the proposed method, staffs in a scanned score image are eliminated by horizontal histogram, noises are removed by 4 directional edge tracking algorithm, and then musical score symbols are extracted by using Grassfire algorithm. The extracted symbols are recognized by hierarchical ART2 algorithm. In order to evaluate the performance of the proposed method, we used 100 musical scores for experiment. In the experiment, we verified that the proposed method using hierarchical ART2 algorithm is efficient.

• Journal of International Area Studies (JIAS)
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• v.12 no.4
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• pp.23-65
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• 2009

This study originates from the examination of both Soviet Russia's and contemporary Russia's tabula rasa that numerous comprehensive national exertions have been trying to overcome, relying on the creation of numerous national emblems, political symbols, and even folkloric materials. With this mind, this work substantiates how the political and cultural symbols have been created in the contemporary socio-political and socio-cultural discourse in Russia. As with the political symbols that most recently been studied by Lee Trepanier, it must be recognized that contemporary social movements and political discourses have failed to "articulate a concrete political vision that reflects a consensus among elites, nor have any gained popular support" as the author confessed already. Concomitant to this general consensus, as Roy Medvedev has put it, we can contend that "today's leaders in Russia have no new ideology, and the mass of the people have no strong new national idea."

• Research in Mathematical Education
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• v.16 no.1
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• pp.79-90
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• 2012

This research investigated if the embodied symbol using a turtle metaphor in a microworld environment works as a cognitive tool to mediate the learning of combinatorics. It was found that students were able to not only count the number of cases systematically by using the embodied symbols in a situated problem regarding Permutation and Combination, but also find the rules and infer a concept of Combination through the activities manipulating the symbols. Therefore, we concluded that the embodied symbol, as a bridge that connects learners' concrete experiences with abstract mathematical concepts, can be applied to introduction of various mathematical concepts as well as a combinatorics concept.

• International Journal of Contents
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• v.14 no.1
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• pp.18-27
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• 2018

The objective of this study was to derive approximate closed-form error rates for M-ary burst symbol transmission (MBST) of dual-hop adaptive decode-and-forward (ADF) cooperative relay systems over quasi-static Rayleigh fading channels. Within a burst, there are pilot symbols and data symbols. Pilot symbols are used for channel estimation schemes and each relay node's transmission mode selection schemes. At first, our focus was on ADF relay systems' error-events at relay nodes. Each event's occurrence probability and probability density function (PDF) were then derived. With error-event based approach, we derived a tractable form of PDF for combined signal-to-noise ratio (SNR). Averaged error rates were then derived as approximate expressions for arbitrary link SNR with different modulation orders and numbers of relays. Its accuracy was verified by comparison with simulation results.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.4
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• pp.20-27
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• 1996

The main purpose of this research is to develop a program supporting landscape planting design on AutoCAD basis using AutoLISP and DCL language. Current CAD use in landscape architecture field is mainly focused on customizing plant symbols for supporting two dimensional drafting rather than three dimensional consideration. This program is composed of eight module a such as PLANT module for inserting plant symbols, LABEL module for labeling task, SIMULATION module for simulating plant growth and seasonal color variation, TABLE module for generating plant table automatically, BUILDING module, BLOCK module, UTILITY module for deleting, transforming, shading symbols and DB MANAGER module for manipulating data. Design automation ability using automatic object recognition technique in this program allows AutoCAD to be used as a design tool in addition to its main role as a drafting tool through supporting landscape designers to generate many alternatives in the early phase of design.