• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.146-154
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• 2012

As Damyang has preserved both beautiful natural environment and tradition very well, it needs colors which can coexist with Damyang while preserving it as it is rather than colorful and refined colors. However, the present Damyang deteriorates the quality of beautiful natural scenes by chaotic uses of colors. Therefore, colors which can represent symbolism based on the present colors of Damyang should be used so that everyone can be pleased with them. Finally, the basic colors decided were classified into main, supplement and highlight colors in consideration of characteristics of each scene and they were effectively arranged based on the colors decided. If such colors and color schemes are properly applied according to characteristics of scenes, ecological, historical, cultural and traditional scenes of Damyang can be preserved consistently. Academic literature uses the abstract to succinctly communicate complex research. An abstract may act as a stand-alone entity instead of a full paper. As such, an abstract is used by many organizations as the basis for selecting research that is proposed for presentation in the form of a poster, platform/oral presentation or workshop presentation at an academic conference. Most literature database search engines index only abstracts rather than providing the entire text of the paper. Full texts of scientific papers must often be purchased because of copyright and/or publisher fees and therefore the abstract is a significant selling point for the reprint or electronic version of the full-text. Abstracts are protected under copyright law just as any other form of written speech is protected. However, publishers of scientific articles invariably make abstracts publicly available, even when the article itself is protected by a toll barrier. For example, articles in the biomedical literature are available publicly from medline which is accessible through design. It is a common misconception that the abstracts in medline provide sufficient information for medical practitioners, students, scholars and patients. The abstract can convey the main results and conclusions of a scientific article but the full text article must be consulted for details of the methodology.

• Journal of the Korean Graphic Arts Communication Society
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• v.2 no.1
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• pp.35-43
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• 1984

Shince the introduction of machine methods into industry a problem has existed which has never been adequately solved. .... That is to say, there is no difference between the essential qualities of Machine art and abstract art, which is the main style of fine arts in the present day. This problem has been discussed by John Ruskin, William Morris, Herbert Read. In this study, I discussed the artistic value in the modern graphic arts from the standpoint of Herbert Read on the machine art. According to the above-mentioned discussings, we can come to the conclusion as follows 1) The machine art lie at the root of abstract art, and whenever the final product of machine is designed or determined by anyone sensitive to formal values, that product can and does become an abstract work of art in the subtler sense of the term. 2) We must recognize that graphic design is a function of the abstract artist, and the abstract artist must be given a place in the graphic arts in which be is not already established, and his decision on all questions of design must be final. 3) Therefore, the graphic designer must have therough knowledge of graphic arts technology in order to give the artistic value to the objects of machine production.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.5B
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• pp.277-285
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• 2007

In this paper, we present a simulation model of Slammer worm propagation process which caused serious disruptions on Internet in the you of 2003 and analyze the process of Slammer by using NS-2. Recently introduced NS-2 modeling called "Detailed Network-Abstract Network Model" had enabled packet level analysis. However, it had deficiency of accommodating only small sized network. By extending the NS-2 DN-AN model to AN-AN model (Abstract Network-Abstract Network model), it is effectively simulated that the whole process from the initial infection to the total network congestion on hourly basis not only for the Korean network but also for the rest of the world networks. Furthermore, the progress of the propagation from Korean network to the other country was also simulated through the AN-AN model. 8,848 hosts in Korean network were infected in 290 second and 66,152 overseas hosts were infected in 308 second. Moreover, the scanning traffics of the worm at the Korean international gateway saturated the total bandwidth in 154 seconds for the inbound traffic and in 135 seconds for the outbound one.

• The Journal of Korean Association of Computer Education
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• v.19 no.6
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• pp.69-80
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• 2016

As a 21C core skill, computational thinking has been focused recently, and computer programming education is popular in primary and secondary schools. This paper aims to analyze the computer programming learning results based on gender difference and verify the reasons causing the difference. In this research, we focused on students' abstract thinking level as a variable and used C programming language and the RUR-PLE. Also, in this research, we focused on the concept of abstraction, one of the main component of computational thinking. And then, we analyze 587 high school students' abstract thinking level and survey them in order to find a new method for enhancing programming skill. In addition, we analyzed the causes for the difference in how the abstract thinking level applies when the students understand various structures of computer programs. From the results, we can propose a computer programming education method that enhances students' merits and compensates their drawbacks in the near future.

• Journal of the Korean School Mathematics Society
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• v.16 no.1
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• pp.219-240
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• 2013

It is the aim of this paper to suggest the method constructing abstract schema in similar mathematical problem solving processes. We analyzed closely the existing studies about the similar problem solving. We suggested the process designing a method for helping students construct an abstract schema. We designed the teaching method constructing abstract schema by appling this process to a group of similar problems chosen by researchers. We applied the designed method to a student. And we could check the possibility and practice of designed teaching method by observing the student's reaction closely.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.10 no.2
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• pp.186-194
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• 1999

Objective：This study was conducted to examine the Draw-A-Person test as a non-verbal indicator of concrete and abstract thinking. Method：Thirty child-psychiatric children and 27 normal children were individually assessed with Draw-A-person Test and KEDI-WISC, and the scores were compared between similarity test and DAP. Results：The results showed significant differences between the groups. In clinical group, there were significant correlations with DAP scores and similarity test scores, especially abstract scores on DAP were highly correlated with similarity test scores. Results indicate characteristics of abstract thinking may be more discernable on the DAP than concrete thinking in clinical group.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.