• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2012.05a
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• pp.893-895
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• 2012

The rapid spread of Internet and network technology advances the current USN (Ubiquitous Sensor Network) in order to realize research is taking place. USN individual sensor information of the sensor nodes to provide the service is equipped with various kinds of sensors. To do this, you can use a service unspecified XML-based Web services to leverage in the standardized data representation language is needed. In this paper, the required sensor information expressed in a standardized form for USN application service was designed in the sensor data representation language. The USN-based technologies and services in the field will be utilized to activate.

• Journal of the Korean Geographical Society
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• v.49 no.1
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• pp.77-90
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• 2014

The purpose of this study is to examine cinematic representations of places in the Korean War films on the event of 1950 'Incheon Landing', focusing on the place representations. 'Incheon Landing' of September 1950 provided a turning point for the Korean War, and the event can be interpreted totally different from the South Korean and the North Korean perspectives. Two films on the same event of the 'Incheon Landing' - a South Korean film, "Incheon Landing Operation"(1965), and a North Korea film, "Wolmido"(1982)- were selected as major sources of analysis and comparison. each director has different intentions. One film was taken from the landing army's viewpoint, whereas the other film was taken from the defender's viewpoint. As a result, one film emphasized the battle as a spectacle of glorious victory from the landing army's viewpoint, while the other film glorified those soldiers killed in the battle as heroes from the defender's viewpoint.

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.122-132
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• 2005

CVE(Collaborative Virtual Environment) is the virtually shared area where people cannot come together physically, but wish to discuss, collaborate on, or even dispute certain matters. In CVEs, in habitants are usually represented by humanoid embodiments, generally referred to as avatars. But most current graphical CVE systems fail to reflect the natural relationship between the avatar's gesture and the conversation that is taking place. More than 65% of the information exchanged during a person to person conversation is carried on the nonverbal band. Therefore, it is expected to be beneficial to provide such communication channels in CVEs in some way. To address this issue, this study proposes a scheme to represent avatar's gestures that can support the CVE users' communication. In the first level, this study classifies the non-verbal communication forms that can be applicable to avatar gesture design. In the second level, this study categorizes the body language according to the types of interaction with verbal language. And in the third level, this study examines gestures with relevant verbal expressions according to the body parts-from head to feet. One bodily gesture can be analyzed in the description of gesture representation, the meaning of gesture and the possible expressions, which can be used in gestural situation.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.154-161
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• 2004

When people visit other countries, the first place to go would be either a museum or an art gallery because it might be the most effective way that people could understand culture and history of the place in a short time. It can be alleged that a museum must be an important cultural space because people can experience their life, history and art there. According to these cultural importance, the purpose of this study is to suggest the environmental design of $\boxDr$Design Museum$\boxUl$ through the Transparency of the Cubism. The Transparency means a capability of transmitting light so that objects on the other side can be seen clearly. The Concept of the Transparency could be taken effects in architecture by overlapping facets or space. By understanding formative properties of the Cubism, which especially focused on Transparency, 1 would like to propose the environment as an art and the exhibition-environment as a way of communication. As it were, the study can be valued as a new approach on condition that formative feature is interpreted with modern terms and the ‘Digital technology’ is not used a tool of representation but a tool of thought in terms of design. Moreover, it has a great significance that formative language of the Cubism will be able to be applied to the environmental design through the experimental and creative design process.

• English Language & Literature Teaching
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• v.13 no.1
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• pp.211-233
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• 2007

Caryl Churchill achieved spacial politics to resist dominant ideology in Cloud Nine. It is suggested that heterotopia is a counter-site to the places which are controlled by colonialism and sexuality. Churchill juxtaposes African colony of Victorian period in the first act and modern London in the second act. It implies that individuals are similarly oppressed by dominant ideology until now though several conditions for individuals are drastically improved. White heterosexual men in the play try to build their utopia to keep their privileges. If they find anything abnormal to their standard, they systematically classify people and organize them into the different ranks and levels to seclude them from their utopia. Actually, the ideal people in the ideal place are oppressed by patriarchal ideology, compulsory heterosexuality, and colonialism which are covertly associated with gender. Therefore, Churchill uses the cross-casting to challenge the artificiality of gender, sexuality, generation and race in the play. People realize that they need to find their own desires free from gender, compulsory heterosexuality, ethnic, and race and their subjectivity flowing in and out of space. It is the site that all the binary oppositions are deconstructed and creates new multiple nodes to expand the boundary of their communities to heterotopia in real places.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.693-718
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• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.

• Phonetics and Speech Sciences
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• v.13 no.1
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• pp.1-15
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• 2021

The present study investigated the mental representation and processing of an ambiguous word in the bimodal processing system by manipulating the lexical ambiguity of a visually or auditorily presented word. Homonyms (e.g., '물었다') with more than two meanings and control words (e.g., '고통을') with a single meaning were used in the experiments. The lemma frequency of words was manipulated while the relative frequency of multiple meanings of each homonym was balanced. In both experiments using the lexical decision task, a robust frequency effect and a critical interaction of word type by frequency were found. In Experiment 1, spoken homonyms yielded faster latencies relative to control words (i.e., ambiguity advantage) in the low frequency condition, while ambiguity disadvantage was found in the high frequency condition. A similar interactive pattern was found in visually presented homonyms in the subsequent Experiment 2. Taken together, the first key finding is that interdependent lexico-semantic processing can be found both in the visual and auditory processing system, which in turn suggests that semantic processing is not modality dependent, but rather takes place on the basis of general lexical knowledge. The second is that multiple semantic candidates provide facilitative feedback only when the lemma frequency of the word is relatively low.

• The Journal of Art Theory & Practice
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• no.1
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• Cross-Cultural Studies
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• v.34
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• pp.93-114
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• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.