• Journal of the Korean Geographical Society
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• v.44 no.3
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• pp.301-322
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• 2009

This paper is an attempt to explore semiotic representations of subway space as the urban machine space of local mobility in terms of space, time and place. For this, the second section of the paper reviews the contours of the urban space of mobility in terms of 'machine space', 'non-place' and 'cognitive map'. The third section interprets the sings of 'spatial' and 'temporal' representations of subway space in Daegu, and suggests the implications of the semiotic representations. It is uncovered that various sign-scapes which coexist in the subway space in coordinated or contradictory ways product the space into multiple and complex techno-social spaces. That is, the spatio-temporal representations of the subway space form the space of 'non-place' on the one hand and the space of 'place' on the other hand, and involve the spatialization of 'memory' on the one hand and the spatialization of 'forgetting' on the other hand. Thus, the subway space should be regarded to be not only the space of 'mobility' which people move in and through, but also the space of 'identity' which has effects on the ways for them to see the machine space and its urban space.

• 기호학연구
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• no.54
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• pp.37-63
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• 2018

In this study, we tried to represent representative animals in traditional dance and study about cultural symbolic representations that symbolize them, thus meaning Korean worship of animal worship and philosophy of life and discuss the identity of Korean traditional art. This is to ask fundamental questions about Korean culture and art, and to express the cultural philosophical reason for the representation of animal imitation. Therefore, Korean animal imitation dance was able to get a glimpse of Koreans' recognition of artistic value which is reflected in dance beyond simple cultural code. In other words, it was found that not only magic and sexual metaphors but also the adaptive attitude through natural friendly life and the ethical practice in reality were inspired by artistic aesthetics.

• Korean journal of communication and information
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• v.50
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• pp.50-72
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• 2010

The purpose of this study was to investigate representation of media on Korean controversial historical incidents and its myth and ideology. Especially the authors paid attention to the MBC-TV Documentary which had dealt with many controversial issues in Korean society. Those issues had never been dealt by other Korean media before it began to do. Three episodes about the South-North Korea related issues were selected as main object of this study and were analyzed with various semiotic research methods, especially, paradigmatic analytical method, narrative analytic method and mythical analytic method. As a main result of this study, it was found that the Documentary tended to represent such controversial historical issues very differently from the previous representations of old newspapers'. Th e old newspapers tried to establish old myths; that is, 'myth of national crisis', 'myth of anti-communism', 'myth of scapegoat of college students', 'myth of intelligent agency's monopoly', 'myth of social stablization', etc, while the documentary changed to build up new myths; that is, 'myth of humanities', 'myth of peaceful unification', 'myth of freedom and democracy', 'myth of human rights, etc.' In short, it was concluded that the documentary was able to change some previous myths and ideologies through its changing representations.

• Journal of Science of Art and Design
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• v.3
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• pp.225-247
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• 2001

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.

• School Mathematics
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• v.4 no.4
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• pp.539-554
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• 2002

Mathematics is constructed by many signs, and learning mathematics involves the understanding and uses of them. This study reflects mathematical signs and their meanings, and considers how they can be introduced in learning. For these, we first investigated epistemological positions as Piaget, Vygotsky, anthropology, and interactionism. And we investigated semiotic models that Saussure and Peirce built each. Among these we adopted Peirce' triadic model that is consisted of interpretant, object (referent), and represen tamen(sign). In mathematic learning process, representations are transformed by translations and meanings are growed to the representation of another sign. And the meaning of sign grows by learner's interpretation. In terms of theoretical grounds, we settled that the understanding of mathematical signs involved the understanding of their representations and their meanings. On the foundation of above contents, we searched how we introduced signs to students and there were methods that approached to students representationally or inquiringly.

• Journal of Educational Research in Mathematics
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• v.13 no.4
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• pp.463-483
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• 2003

In the learning of mathematics, students experience the semiotic activities of representing and interpreting mathematical signs. We called these activities as the representing and interpreting of mathematical signs. On the foundation of Peirce's three elements of the sign, we analysed that students constructed the representamen to interpret the concept of correlation as for the object, "as one is taller, one's size of foot is larger" 4 middle school students who participated the gifted center in Seoul, arranged the statistical data, constructed their own representamen, and then learned the conventional signs as a result of the whole class discussion. In the process, students performed the detailed representing and interpreting of signs, depended on the templates of the known signs, and interpreted the process voluntarily. As the semiotic activities were taken place in this way, it was needed that mathematics teacher guided the representing and interpreting of mathematical signs so that the representation and the meaning of the sign were constructed each other, and that students endeavored to get the negotiation of the interpretants and the representamens, and to reach the conventional representing.

• Cartoon and Animation Studies
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• s.48
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• pp.23-44
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• 2017

This study explored aspect and intermedial characteristics at the beginning of the abstract animation and the semiotic meaning of abstract animation. Abstract animation was formed by arbangaridist, and there was an abstract painting on its foundations. The abstract painting belong to 'symbol sign' and do not represent specific objects. The abstract animation loses its object and we knew that the abstract animation itself to be object. Abstract animation is a category of ' media combination ' that combines abstract painting and music with intermediality. Abstract animation began based on abstract paintings, but was combined with music and time, and evolved into new media. The abstract animation was started by avant-gardists such as Walter Ruttman, Viking Eggeling and Hans Richter. They set aside their own time of abstract animation based on music. Oskar Fischinger was influenced by Walter Ruttman who completed abstract animation and went to America to continue his work. After Oskar Fischinger, John Whitney continued his genealogy using computer graphics. The abstract animation was faithful to the underlying meaning of the medium in the absence of the object for representation.

• Korean journal of communication and information
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• v.45
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• pp.255-295
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• 2009

The purpose of this study was to investigate how much multi-cultural traits the multiculture-oriented TV programs would have and how they tended to represent it with what kinds of meaning structures. As an object of this study, the authors chose the Program of KBS-TV which had been discussed seriously to raise a multi-cultural issue as well as a sexuality issue of lady guests. They collected 70 weekly programs from Nov. 26 of 2006 to March 31, 2008, and finally selected and analyzed 5 weekly programs as main analytic data. They tried to analyze them with various semiotic research methods, especially, linguistic semiotic research methods and pictorial research methods. As results of this study, it was found that this Program was based on multiful-levels of meaning structure: that is, superficial level, representation level and in-depth level. The superficial level of this program presented various multi-cultural traits through many and various talks of lady guests. Its representation level indicated some patterns of discourses about issues and agendas of the talks among lady guests. The in-depth level was based on the sexuality of lady guests as well as the male-dominant ideology. It was finally implicated that this Program was based on the sexuality and feminity of lady guests even though it tried to advocate its multi-cultural traits.

• 기호학연구
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• no.56
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• pp.71-107
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• 2018

The purpose of this study was to find out the presentation of food and cooking process shown through the media and its cultural implications by comparing and analyzing seasons 1 and 2 of , tvN's reality program which has gained high viewer ratings and sympathy from the viewers. In light of the existing documents, the research reviewed the social and cultural meanings implied through a series of processes of "the act of cooking- the act of providing food - the act of having a meal."The authors concerned narrative structure of the program, paradigmatic analysis, actantial analysis, and analysis by applying the culinary triangle of $L{\acute{e}}vi$-Strauss were conducted, in order to find out the difference between seasons 1 and 2 of the . As a result of semiotic analysis on the programs, by focusing on the value of composure and slowness which may be felt through the simple everyday lives and travelling by running a Korean restaurant in a foreign country, the reality program revealed the changed consumption behaviors for Korean food, and the evolutionary process of cooking and the act of providing food reflecting the above. Meanwhile, the transformation of the Korean food may mean the "statelessness of Korean food" hidden under the name of localization or globalization. Furthermore, although the program intended to put up globalization of Korean food, the uniqueness of the Korean food wash armed, and this is the reason why it needs to be examined whether Korean food was used simply for entertainment in the program. Also, the program showed limitations such as drawing cultural inferiority as the motive for watching the program.

• Journal of architectural history
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• v.12 no.4 s.36
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.