• Journal of Korea Multimedia Society
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• v.6 no.6
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• pp.1088-1099
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• 2003

The syntax-directed translation using semantic actions is frequently used in construction of compiler for text programming languages. it is very useful for the language designers to develop compiler back-end using a syntax structure of a source programming language. Due to the lack of the integrated representation method for a parse tree node and modeling method of syntax structures, it is very hard to construct compiler using syntax-directed translation in visual languages. In this Paper, we propose a visual language compiler generation method for constructing a visual languages compiler automatically, using syntax-directed translation. Our method uses the Picture Layout Grammar as a underlying grammar formalism. This grammar allows our approach to generate parser efficiently u sing And-Or-Waiting Graph and encapsulating syntax definition as one unit. Unlike other systems, we suggest separating the specification and the generation of semantic actions. Because of this, it provides a very efficient method for modification.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.1-12
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• 2016

Najang was the central Seori, affiliated to the Ministry of War during the Joseon dynasty. The objective of this study is to research the existing authentic Najang costumes from the late-Joseon dynasty by examining factors, such as the composition of the costume, size, and method of creation, and attempt to replicate it. The Leipzig Grassi Museum in Germany possesses an official uniform of Najang from the late-Joseon dynasty, and we visited the museum in May of 2013 to examine it for the study. Written records, or Uigwe, and other pictorial data from the Joseon Dynastry describe the Najang wearing black or navy clothing with white decoration and pointy hats. The most notable characteristic of the Najang uniform is that it has the cotton cords pattern. The hat has a brass ball attached, which was worn with the ball facing the front in the early Joseon Dynasty, and was worn facing the back in the later years. They usually wore black head cloths (Heuk-geon), but would attach feathers on the black hats (Heuk-rip) for special occasions. The Najang uniform preserved in the Leipsiz Grassi Muesim does not exist in Korea. It is made of cotton. The cotton cord pattern of the uniform of Najang was made using single-ply cords and double-ply cords. The hat worn by Najang is in a form of a cone that becomes narrower towards the top or is in a form with wide and open end. It was made of oiled paper covered with hemp, and two circular metal disks were attatched at the rear.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1998.11a
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• pp.143-147
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• 1998

Autonomic and EEG responses of 38 college students were studied during 60-sec long presentation of International Affective Picture System (IAPS )slides evoking, according to subjective reports, negative (disgust, sadness, surprise) and positive (happiness, exciting) emotional. states. Observed were significant heart rate (HR) deceleration, large skin conductance responses (SCR), moderate respiration frequency slowing, reduction of frontal (F 3, F 4 ) and occipital (O 1, O 2 ) fast alpha, and increases of theta, delta and beta relative spectral power values during the first 30 sec of exposure of IAPS pictures. Analysis carried out to differentiate emotion categories according to autonomic responses indicated that observed HR deceleration was larger in magnitude in surprise and sadness than in disgust, SCR amplitude higher in sadness than in disgust. EEC showed significant differences in theta (F 3, F 4 ) and delta (O 1) power increase in disgust vs. happiness, fast alpha (F 3, F 4 ) power was lower in surprise than in happiness, and slow beta power higher. in happiness than in disgust (0 1). Despite some differences. observed within discrete emotion conditions, overall responses pattern of monitored parameters exhibited similar profiles with few variations, most. obvious. in disgust state, which suggests that affective visual stimulation elicits stereotypical responses in a given passive viewing paradigm. However, the magnitude of physiological responses may vary to certain extent across discrete emotional states making it possible to differentiate among particular experimentally-induced emotional states, e.g., disgust vs. sadness by ANS responses or disgust vs. happiness by EEG measures.

• Journal of Science of Art and Design
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• v.8
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• pp.129-159
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• 2005

Web sites have become one of most important factor for sales products as well as advertising communications in these days. So numerous web sites have been developed for corporations and brands. It is not easy to getting more attention as a prominent web site expression among various types of numerous web sites. Due to the voluminous expansion of visual communications and the change of the media. new advertising creative must be needed for serving to differentiate the message, inviting audiences to participate more positively in Web site communications. This thesis aims at reviewing images and semiotics for analyzing web sites. And this thesis is about the significations of web sites for some of supreme brands. Chapter I describes the aim of this thesis about the signification of web sites, especially concentrate on the intro-pages of worldwide supreme brands. such as Chanel, Louis Vuitton, Yves Saint Laurent, Prada, and Burberry. And Chapter II introduces the general concept of Image and Semiotics. Chapter III deals with the signification of the web sites with introducing semiotic methods such as the theory of R. Barthes. Chapter IV discusses the signification of Images of web sites as an advertising creative talking into consideration of semiotic theories. And this thesis analyze almost all visual images and verbal message by the theory of R. Barthes. In this matrix, a. particular image of web site can be analyzed into its basic structure of pictorial and word elements , i. e., into the representations the viewer uses and identifies. It's my belief that one of aesthetic engineering approaches such as Semantic Differential Method and semiotic approaches such as the Interpretant Matrix for advertising design images provide basic methods which is about defining the process of constructing and coding the advertising images as well as analyzing and decoding advertising expressions. So I suggest these kinds of studies on the images of web sites as well as advertising design images.

• Journal of the Korean School Mathematics Society
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• v.12 no.2
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• pp.151-170
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• 2009

The purpose of the study is to analyze the sixth graders' understanding of concepts and operation about fraction. The test was administered and analyzed to 707 sixth graders' performance on fractions after the fraction instructions in elementary schools in Seoul, Korea. The participants are asked to answer two sets of questions for 40 minutes. First, they are asked to answer to 16 problems about the concepts of fraction with respect to part-whole, ratio, operator, measure, quotient, equivalent, and operations. Second, specially, to investigate sixth graders' ability of drawing and describing the situation of division including fraction, the descriptive problem asked students (1) to describe $3\;{\div}\;\frac{1}{2}$ into pictorial representation and (2) to write the solving process. The participants of this study didn't show deep understandings about the concepts and operation of fraction. The degree of understanding of subconstructs of fraction shows that their knowledge of ratio concept with respect to fraction was highest while their understanding of measure with respect to fraction was lowest. Considering their wrong answers, about 59% of participants showed misconception to the question of naming one fraction that appears between $\frac{1}{5}$ and $\frac{1}{6}$. Further, they didn't explain their understanding with drawing about the division of fraction ($3\;{\div}\;\frac{1}{2}$).

• Korean Journal of Veterinary Research
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• v.24 no.2
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• pp.213-226
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• 1984

Scanning electron microscope (Model; SEM ISI-DS-130) was used to observe the fine surface structures of the predominant cattle tick Haemaphysalis longicornis Neumann 1901 (Acarina: Ixodidae) in Korea and some SEM microphotographs were presented in this pictorial monograph. Brief descriptions of the main contents are consisted of followings; L Mean body size is 2.43mm in unfed males and 2. 58mm in unfed females, the eyes are absent. 2. The scutums are inornated but there are some short-setae on the surface of the body. 3. The festoons on the dorso-marginal part of the body are present and segmented with 11 sectors. 4. The cornua is well-developed and the bypostome dentition is usually 5/5 in both sexes but rarely 4/4 also seen. 5. There is no dorsal projection on the anteriointernal margin of the palpal article 2, howevever, there are well developed dorso-internal setae with setal fossa on it. 6. The joints of the legs (Coxatrochanter and trochanter coxa, etc) are well developed.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.209-221
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• 1992

A standpoint art's style, present-day Western dress was establishing a systematic, theoritical value in sphere of fine art's meaning & it's expression on the modern fashion. For this reason, I selected Impressionism (a broad senes: be included Impressionism, Neo-Impressionism, Post-Impressionism) that was designated 'the revolution of color'. In the previous paper, 1 already discussed about the modern fashion under the influence of the color of Impressionism, from this study, Neo-Impressionism's techniques & it's influence on the modern fashion was investigated. The Impressionists had purposely used uneven brushwork & a vivid palette to transmit the intensity & immediacy of nature, whereas the Neo-Impressionists utilized methodically applied dots, a technique commonly described as Pointillism, to achieve their rationalist goal of eliminating the fugitive & the casual in order to seize a more fundamental reality. Of all them, Seurat had already become interested in the posible analogies between science, music & psychology on the on hand & art on the other, and scientist's books & articles offered a wealth of theoretical support. 1'articulary, it was corroborated that effects of sadness, calm, or happiness could be achieved through manipulation of color & design. The conclusions are as follow: 1. Through the modern fashion, a space between pattern & pattern was reflected unstable balances & harmonies, that, Neo-Impressionist emphasized the distinction between outdoor & subject, between elaborately clothed & nude figures, corresponded to modern fashion's pattern. 2. The modern fashion was presented a small border or band within the pattern itself which colors complemented those of the adjacent pictorial surface and mediated between the painted image & its enclosure.

• Journal of Fashion Business
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• v.15 no.3
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• pp.112-124
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• 2011

Textile and clothing in Ancient Egypt have carried long history and tradition. Especially, Egyptian textile culture, created mostly by the Copt, has the originality of weaving technology and the artistic beauty of the weaving motifs, making the textiles comparable to modern textiles. The purpose of this study is to research on the characteristics of Coptic textile designs of ancient Egypt and the tunic, a basic garment made of Coptic textiles, and offer materials for the development of the textiles and designs with artistic values which can be shared in the modern era, not just for the research of the relics of the past. Therefore, this study will follow the historical background of Coptic textiles and the process of the development, and look into the distinct features under the categories of material, colors and motifs. In addition, the tunic and its weaving technology will be explained and this will help understand the originality of Coptic textiles. The scope of this study is limited to the period of the 3rd to 12th centuries when the Egyptian weaving technologies advanced dramatically and many of the ancient Egyptian textiles discovered from the grave goods dates back, the research methode of the tunic as well as books published at home and abroad, research paper and photograph works. The textiles had developed along the Egyptian history which was influenced by different cultures such as Greek, Roman, pagan, Christian, and later, Islamic. For the textiles, they used a variety of pictorial motifs including Greek goddesses, pastoral scenes related to the Nile River and animals, human figures, geometrical figures and Christian icons. They are symbolic, natural, and mythological characters, and this explains that the world views and religions of the weavers influenced the development of specific motifs. Coptic textiles was used to make a tunic, a simple straight-sided gown without sleeves worn by men and women and was woven in a combination of linen plain weave and woolen tapestry weave for a tunic. Not only the excellence of the weaving technologies and the beauty of the colors used in the textiles, but also the diversity of the textures through weaving, embroidery, and knotting are detected in Coptic textiles.