• Journal of Korea Society of Digital Industry and Information Management
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• v.5 no.2
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• pp.77-85
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• 2009

In this paper, we propose data format for smell, taste, touch with speech and vision which can be transmitted and implement a floral scent detection and recognition system. We provide representation method of data of smell, taste, and touch. Also, proposed floral scent recognition system consists of three module such as floral scent acquisition module using Metal Oxide Semiconductor (MOS) sensor array, entropy-based floral scent detection module, and floral scent recognition module using correlation coefficients. The proposed system calculates correlation coefficients of the individual sensor between feature vector(16 sensors) from floral scent input point until the stable region and 12 types of reference models. Then, this system selects the floral scent with the maximum similarity to the calculated average of individual correlation coefficients. To evaluate the floral scent recognition system using correlation coefficients, we implemented an individual floral scent recognition system using K-NN with PCA and LDA that are generally used in conventional electronic noses. In the experimental results, the proposed system performs approximately 95.7% average recognition rate.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2018.10a
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• pp.114-114
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• 2018

Among the various volatile organic compounds (VOCs) emitted by the plant, floral scent plays a key role in attracting pollinators for reproduction and mediates ecological interactions. Floral scent is an important trait and industry drives the competition for flowers with novel scents. Chrysanthemum is one of the well-known ornamental plants and is a popular cut flower across the world. Floral scent and the genes responsible for the floral scent emission are poorly studied in chrysanthemum. In the present study, floral scent and the expression pattern of floral scent genes were analyzed in two chrysanthemum cultivars 'Golden Egg' and 'Gaya Glory'. Initially, intensity of the floral scent in five developing stages of flower including 'budding (B), bud developing (BD), initial blooming (IB), almost open (AO) and open flower (OF)' was analyzed using electronic nose (E-nose) with six metal oxide sensors. Based on the distance analysis, different stages of flower showed different relative intensity of scent according to the sensory evaluation. Although the scent pattern differed by stage, scent intensity was strongest in the OF stage in the completely opened flower in both the cultivars. Further, expression pattern of six genes in the floral scent pathway including FDS, IDI, ISPH, TPS2, TPS5 and TPS6 was observed in all the five stages of the flower in both the cultivars. The expression pattern of all the six genes differed by stage and the terpene synthase genes TPS2, TPS5 and TPS6 showed good expression levels in the $5^{th}$ flower stage compared to other stages. This study provides a preliminary data for understanding the regulation of floral scent in chrysanthemum.

• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.731-740
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• 2010

This study attempted to understand the value of traditional floral wall patterns reflecting the distinct aesthetic consciousness of Korean people and reinterpret the images of floral wall patterns in simplified forms. In addition, the study created new floral patterns to apply them to the design of neckties and scarves. In a methodological aspect, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to make the traditional floral wall patterns motifs. Four basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating, and/or reducing shapes based on floral wall patterns, and each motif was developed in two variations with different colors applied to them. Each of the set motifs was expressed in a repeated arrangement and in a modified pattern of 45 degrees. Necktie design with a floral wall pattern made use of the motifs developed through a variety of effects such as simplification, repetition, size variation, and gradation and the pattern modified at a $45^{\circ}$ for application. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed and expressed them through such effects as repetition, rotation, compositional variation and gradation.

• Journal of Korean Society of Forest Science
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• v.94 no.2 s.159
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• pp.67-72
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• 2005

The objectives of this study were to identify the period of initiation of floral primordia in black locust (Robinia pseudoacacia L.) and subsequent development of floral buds until following spring. Four mature trees of black locust located in Suwon, Korea were selected. Bud samples were collected from the current-year shoots, starting from mid June to July every week, from August to October and from February to April every month. The buds were fixed in FAA solution, dehydrated, and imbedded in paraffin for microscopic observation. Buds collected on June 16, and 23, 1997, contained primitive primordia that might be interpreted as early floral primordia. By June 30, a bud showed a positive indication of inflorescence primordium with a well-formed shoot apex. All the inflorescence primordia observed throughout the collection periods were always associated with unique hairy appendages around the primordium and enclosed within a sclerenchymatous chamber. By July 7 and 15, a floral apex had early bud scales. By July 22, primitive inflorescence developed into visible arrangement of individual floral primordial By July 29, the inflorescence developed into whirl arrangement of individual floral primordia in a transverse section, but showed little further development until October 15. The inflorescence primordia seemed to over-winter at this stage. Buds collected from February 15 and March 24 the following year also showed no further development of inflorescence primordia. By April 7 the inflorescence started to show further development with elongated axis. At this time individual flowers were easily recognized.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.1-11
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• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• The Korean Fashion and Textile Research Journal
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• v.4 no.2
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• pp.117-127
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• 2002

Patterns presented at baroque were mostly floral pattern. Abstract anonymous flower, tulip, Acandus leaf, pomegranate were blended with one another and had a distinct leaning toward continuation and repetition. Components of design could be classified into flower and leaf, flower and fruit, flower and circumferential ornament, bunch of flowers, flower and pot, flower and geometry, and flower and animal. Floral patterns in this era were mostly fullness type being large, simple, and having more formalized motive and were fronted with unit type and vine shape. Unit type shows reflection of baroque style which aims to present absolute unification rather than freedom, which was inherent property of baroque style, by using symmetric pattern. Vine type were unfolded with C type curved line which was main characteristics of that time and showed flowage as a whole and pliable beauty. Floral pattern was filled the whole surface of fabric, thus background of fabric can not be discerned. So, it showed extreme decorative tendency and lavishness.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.77-95
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• 2021

This study considers the problem of reality that our floral art has to overcome as a loss of the floral art spirit caused by the expansion of Western-centered formalism flower culture, and considers the discussion on the deformality of distancing and the free spirit of nomadism. The floral art, which works on the creator's aesthetic mental world through flowers, is an art of mental image that values the free mental world of the creator. It also refers to the importance of artist consciousness as an art of self-imago that makes the target world beyond the "expression of similarity" that reproduces the target world. In this context, the lack of concern about the identity of Korean floral art appears to be the creative training and work of Korean floral artists who are biased toward Western expression techniques and creative methods. It also expresses a problem with our cultural consciousness, which is dominated by the Western flower culture of flower design. Here, we are obliged to understand the reality of Korean floral art biased by Western flower design and to organize discussions to solve the problem. Therefore, this study examines the problems that our floral art has to overcome as part of seeking the identity of Korean floral art and enhancing the cultural value of Korean floral art through criticism of Western cultural acceptance. This is a historical consideration of the nature of Korean floral art to recover, while also a process of identifying the meaning of the free creative spirit that the artist should maintain as an aesthetic art. Furthermore, such criticism of the Korean floral art culture and discussion of introspection are expected to serve as an opportunity to further expand the academic discourse system for the floral art while embodying the "identity" of Korean floral art.

• International Journal of Contents
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• v.6 no.4
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• pp.14-21
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• 2010

In this study, the preferences with regard to floral design in a public space and the correlation between such preferences and the image features of the floral design types were identified. Based on the review of the related literature, the floral designs placed in a public space were classified into three types(the flower bed, container, and three-dimensional sculpture types) according to physical factors, and were classified into two types(the indoor and outdoor types) according to environmental factors. In the floral-design type classified by physical and environmental factors, the flower bed and outdoor types, respectively, were highly preferred. The factor that was found to have the greatest influence on the preference for the flower bed type was 'well-orderedness', which included the adjective categories 'harmonious', 'clean', and 'simple'; that which was found to have the greatest influence on the preference for the outdoor-type floral design was 'identity', which included the adjective categories 'symbolic', 'distinctive', 'harmonious', 'impressive', and 'clean'. It can thus be concluded that the plants that are effectively displayed in a public space can express the nature and identity of the city itself, can be a yardstick for giving value to the city and for evaluating it, and can be important components of the urban landscape. A design that is suitable for the purpose of each public space and that reflects the factors that exert an influence on the users' floral-design type preference should thus be developed.

• Korean Journal of Plant Taxonomy
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• v.48 no.3
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• pp.172-184
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• 2018

We examined the floral morphology of 15 taxa of five genera (Cynanchum, Marsdenia, Metaplexis, Tylophora, and Vincetoxicum) in Korean Asclepiadoideae using a stereoscopic and scanning electronic microscope to clarify and describe the floral characteristics. In this study, the corolla and corona types, the types of corona lobes, appendages on the corona lobes, and the apex shape of the style head are considered as diagnostic characteristics at the generic level. The genus Vincetoxicum, which is treated as a synonym of the genus Cynanchum in Korea, is distinguished from Cynanchum by the interstaminal part on the corona, fleshy and mainly triangular or ellipsoid corona lobes, and various corolla colors. In Cynanchum, various corona types have been observed, while Vincetoxicum have similar corona types among the taxa. In addition, the main floral characteristics at the species level were as follows: flowering time, inflorescence, corolla color, trichomes on the corolla surfaces, apex shape of the corona lobe, and trichomes on the ovary. This study presents the taxonomic importance of floral morphology by providing descriptions and diagnostic characteristics among the genera and species investigated.

• Horticultural Science & Technology
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• v.33 no.1
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• pp.31-38
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• 2015

This study was carried out to investigate the relationship between endogenous polyamines (PAs) and floral bud differentiation in chrysanthemum (Chrysanthemum morifolium). In this study, PA content (free, bound, and conjugated) in apical buds, leaves, and roots changed appreciably during floral bud differentiation. PAs accumulated during series of processes such as floral induction, differentiation of floret primordia, and crown formation in apical buds; changes in PAs in apical buds may have a relationship with those in leaves and roots. The levels of free PAs and conjugated PAs [putrescine (Put) and spermine (Spm)] in apical buds rapidly increased during the initiation stage of floral bud differentiation, while free and conjugated spermidine (Spd) reached their highest levels at the stage of floret primordium differentiation. In the free, conjugated, and bound PA fractions, the changes in Spm content were negligible compared to those of Put and Spd throughout the experiment. These findings indicate that PAs participate in regulating the process of flower bud differentiation in chrysanthemum.