• Journal of the Korean Chemical Society
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• v.55 no.3
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• pp.509-518
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• 2011

In this study, we investigated the effects of analogy-generating in small group in elementary science-gifted education upon the types and the mapping errors of student-generated analogies, and the perceptions of the instruction. Fifth graders (N=37) at two science-gifted classes in two elementary schools were selected and assigned to individualistic analogygenerating (IA, n=19) and pair analogy-generating (PA, n=18) groups. After the students of each group performed the experiment and were taught about 'saturated solution' concept in the first class, they administered the test on the self-generating analogies on the concept in the second class. The students in the PA group also administered the test on perceptions of analogy-generating in small group and some of them were interviewed deeply. The results revealed that the students in the PA group made more verbal/pictorial, structural/functional, enriched, and higher systematic analogies than those in the IA group. However, there were little difference between the two groups in the subcategories of artificiality (artificial and everyday) and abstraction (abstract and concrete). The students in the PA group fewer mapping errors than those in the IA group. Many students in PA group perceived the analogy-generating in small group positively upon various cognitive and motivational aspects. However, they also pointed a few disadvantages of the activity. Educational implications of these findings are discussed.

• Journal of The Korean Association For Science Education
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• v.37 no.1
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• pp.39-48
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• 2017

In this study, we investigated the characteristics of analogs generated by high school students to explain ionic bonding in the perspectives of the number of analogs, the understanding of mapping, and the source and type of analogs. We also compared the results by students' conceptual understanding, logical thinking ability, and analogical reasoning ability. Participants in this study were 395 11th graders in Seoul. The results of the study showed that the higher the conceptual understanding, the logical thinking ability, and the analogical reasoning ability, the more the students generated the analogs. The understanding of mapping was related to logical thinking ability and analogical reasoning ability. It is noteworthy that the sources of analogs differed only depending on their conceptual understanding of the target concept among the cognitive variables studied. Students who had higher conceptual understanding also generated analogs from more diverse sources. Some types of the generated analogs were related to the cognitive variables. For examples, the students who had higher conceptual understanding and logical thinking ability generated more verbal/pictorial analogs. The types of analogs were not related to cognitive variables in terms of artificiality, abstraction, and systemicity. Educational implications of these findings were discussed.

• Journal of Science of Art and Design
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• v.1
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• pp.63-93
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• 1999

This treatise begins with finding a meaning of Paul Klee's . It is pretty simpleto choose the square of Klee. The most important formative language for twenty century is abstraction. The element of speaking for abstraction issquare. The artists are trying to contain the nature and universe in the square. The role of magic square consisting with small squares of Klee is crystallized. The other side, the test of this study is a method analysis. The method analysis is changing while concept and style have been changing according to a period. The existing method analysis is an iconology used many times in Art history. This treatise introduces France symbolists, Bernard Cocula and Claude Peyroutet's analysis of a meaning of image(Semantique do l'image) who were applied to Modern Art. based on Iconography. It also applies to analysis of artwork of Klee. Cocula's is developed from one phase to five phase step by step. The first phase deals with an appearance of artwork. Subsequently, the second phase is directly adjacent to personal feeling and impression. This is an adequate method for image study in the analysis of modern arts. This phase makes it a rule to enjoy talking with artworks above all. The third phase begins with this question 'What do you see? (que voyons-nous?).' The applies exhaustively and strictly to complicated image artworks which need an elaborate analysis. It is very hard but audiences must try to maintain neutrality in front of artwork because cord formation and interpretation should be formed objectively. The meaning analysis and interpretation of the forth phase begins with this question 'what is the image rouse'(qu'evoque cote image?).' This phase is the most important in a process of symbolic analysis. The audience investigates personal elements and common elements. The fifth is synthetic analysis and interpretation phase. The synthesis is last phase and it reaches a valuation and a conclusion. Namely, the synthesis phase makes up synthesis conclusion, summarizes image character, and completes value adjudication. Sometimes it completes no conclusions in a silence. This study found a new possible analysis example from Paul Klee's work. The study emphasizes square analysis and interpretation and uses . The analysis of artwork by Cocula's is an example of the most important work of Klee's three artworks. The first analysis of artwork is and the second one is . The third one is . In these analyses, Klee usedmagic square 'to make natural pictorial element and to explain organic living things.'

• Journal of the Korean Institute of Intelligent Systems
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• v.13 no.4
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• pp.403-408
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• 2003

A general meaning of caricaturing is that a representation, especially pictorial or literary, in which the subject's distinctive features or peculiarities are deliberately exaggerated to produce a comic or grotesque effect. In other words, a caricature is defined as a rough sketch(dessin) which is made by detecting features from human face and exaggerating or warping those. There have been developed many methods which can make a caricature image from human face using computer. In this paper, we propose a new caricaturing system. The system uses a real-time image or supplied image as an input image and deals with it on four processing steps and then creates a caricatured image finally. The four Processing steps are like that. The first step is detecting a face from input image. The second step is extracting special coordinate values as facial geometric information. The third step is deforming the face image using local warping method and the coordinate values acquired in the second step. In fourth step, the system transforms the deformed image into the better improved edge image using a fuzzy Sobel method and then creates a caricatured image finally. In this paper , we can realize a caricaturing system which is simpler than any other exiting systems in ways that create a caricatured image and does not need complex algorithms using many image processing methods like image recognition, transformation and edge detection.

• Archives of design research
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• v.16 no.4
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• pp.37-46
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• 2003

About 18th century in the late Chosun dynasty, various kinds of 'Min-Wha' had played a significant role and had an important meaning in the lives of the people in that period. Therefore, both in material and in technique, so many diversified 'Min-Wha' were mass produced in that time. Starting from those backgrounds, 'Hyuk-Wha', is considered as one of unique style of expression. Though, 'Hyuk-Wha', in techniques, was originated from 'Bibaekseo' classified as one of the style of expression in Oriental drawing and writing art. 'Hyuk-Wha' shows and expresses visual differentiation from rough 'Bibaekseo', in substance, written by brush made from the skin of a willow tree or the stem of a sort of reeds. 'Hyuk-Wha', in mode, has very dose relation to the process of the development of 'Min-Wha'. Judging from this point of view, 'Hyuk-Wha' has deep relationship to Taosmic character painting of 'Gilsang: an auspicious sign' or Confucian character painting of 'Hyojae: filial piety. Accordingly, 'Hyuk-Wha' has been developed to that character painting designed by another type of creative differentiations. For these reasons, 'Hyuk-Wha' which significantly shapes and contains the meanings of Chinese Character also has been esteemed to have interrelation with Pictography in application of Word mark or Brand logotype in graphic areas. 'Hyuk-Wha' which was prevalent in use of home decorations for the people existed in the past has been ceased to exist nowadays in use of home decorations by appearance of all sort of decoration articles. All these days, 'Hyuk-Wha' which was diversified as a part 'Min-Wha' and developed together with oriental drawing and writing art and character painting is to be necessarily relighted. And 'Hyuk-Wha', which is also vigorously in practical application in Western Europe is desirable to be reconsidered.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.208-219
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• 2010

Antique maps are a cultural heritage of recorded information with distinguished pictorial and scientific value. They have been utilized in a variety of academic fields, especially in historical geography, as the most fundamental data to look into the restoration of space or historic changes of area from the past. However, there is no sufficient study on the development of contents using antique maps in the exhibitions. Furthermore, there is almost no content research on the antique maps integrating the academic programs in museums or art galleries. In particular, it is very difficult to find research on the approaches to configure or utilize the exhibition contents related to the Sea of Korea using European antique maps. This study examined the construction of educational contents in order to use the European antique maps including the Sea of Korea as well as Korea itself in the exhibitions. The results of this study may visualize the results of academic research on the territory and territorial waters of Korea and extensively acknowledge them as scientific data all over the world. Furthermore, this study aimed to create the opportunity to increase interest in the Sea of Korea and recognize it again, to find the contents construction to use European antique maps as academic data for exhibition and education in museums or cultural facilities and to provide a basic model for history education using antique maps.

• Anxiety and mood
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• v.7 no.2
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• pp.113-118
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• 2011

Objectives : The Self-Assessment Manikin (SAM) developed by Bradley and Lang is a non-verbal pictorial assessment tool that measures human emotion and has been widely used. However, the pictures in SAM have not been easy for Korean subjects to understand or relate to. The authors developed a new manikin (Emotional Valence and Arousal Manikin, EVAS) modeling it after Korean faces while modifying and standardizing the SAM. Methods : Forty-one healthy subjects participated in this study. They were asked to rate the emotional valence and level of arousal using both the SAM and EVAS after being exposed to pictures of facial expressions for affective neurosciences-Korean version. The internal consistency of the EVAS and the correlation between EVAS and SAM were examined. Resuts : Internal consistencies of the valence using the EVAS were from 0.63 (surprise) to 0.82 (happiness) and those of the arousal were from 0.90 to 0.95. Correlation coefficients of the valence and arousal between the SAM and EVAS were from 0.61 (both surprise and disgust) to 0.84 (neutral) and from 0.82 (sadness) to 0.94 (fear), respectively. Conclusions : We developed a new manikin (the EVAS) for the Korean population modifying and standardizing the SAM. The EVAS demonstrated a good internal consistency and validity. As such, it can be used in the field of human emotion research.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.102-109
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• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.sup1
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• pp.1-9
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• 2016

In Vietnam, the WHO Framework Convention on Tobacco Control (WHO FCTC) took effect in March 2005 while MPOWER has been implemented since 2008. This paper describes the progress and challenges of implementation of the MPOWER package in Vietnam. We can report that, in term of monitoring, Vietnam is very active in the Global Tobacco Surveillance System, completing two rounds of the Global Adult Tobacco Survey (GATS) and three rounds of the Global Youth Tobacco Survey (GYTS). To protect people from tobacco smoke, Vietnam has issued and enforced a law requiring comprehensive smoking bans at workplaces and public places since 2013. Tobacco advertising and promotion are also prohibited with the exception of points of sale displays of tobacco products. Violations come in the form of promotion girls, corporate social responsibility activities from tobacco manufacturers and packages displayed by retail vendors. Vietnam is one of the 77 countries that require pictorial health warnings to be printed on cigarette packages to warn about the danger of tobacco and the warnings have been implemented effectively. Cigarette tax is 70% of factory price which is equal to less than 45% of retail price and much lower than the recommendation of WHO. However, Vietnam is one of the very few countries that require manufacturers and importers to make "compulsory contributions" at 1-2% of the factory price of cigarettes sold in Vietnam for the establishment of a Tobacco Control Fund (TCF). The TCF is being operated well. In 2015, 67 units of 63 provinces/cities, 22 ministries and political-social organizations and 6 hospitals received funding from TCF to implement a wide range of tobacco control activities. Cessation services have been starting with a a toll-free quit-line but need to be further strengthened. In conclusion, Vietnam has constantly put efforts into the tobacco control field with high commitment from the government, scientists and activists. Though several remarkable achievements have been gained, many challenges remain. To overcome those challenges, implementation strategies that take into account the contextual factors and social determinants of tobacco use in Vietnam are needed.