• 한국전통조경학회지
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• 제33권4호
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• pp.1-9
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• 2015

본 연구는 독도가 대한민국 국민에게 특별한 의미를 갖는 지역이기 때문에, "국가경관이미지"를 갖고 있을 것이라는 가설을 증명하기 진행되었다. 이를 위해 내국인 대학생 51명과 외국인 대학생 44명을 대상으로 어의척도 설문조사를 실시하고 통계분석을 실시하였다. 그 결과 내국인 남녀간에는 큰 차이는 없는 것으로 나타났다. 그렇지만 [독도전체 경관사진]에 대해서는 "상당히 혹은 매우 귀중하고 인상적인 동시에 신비롭고 상징적이다"라는 이미지를 갖고 있었다. 이것은 여타 국립공원의 자연경관에 대한 반응들에서는 찾아 볼 수 없는 독도 특유의 이미지들이다. 한편, 내국인과 외국인의 응답 결과는 모든 변수에서 큰 차이를 보였다. 특히 [독도전체 경관사진]에 대해서 몇몇 경관형용사들 [인상적이다(1.41), 신비롭다(1,25), 상징적이다(1.00), 귀중하다(0.98), 친근하다(0.95), 아름답다(0.93), 흥미롭다(0.85)]은 내외국인 응답자들간 뚜렷한 차를 보였다. 바위 이름 자체에 국가경관이미지와 관련된 이름을 가진 바위들[한반도바위(0.57)]와 [독립문바위(0.51)]에 대해서도 내외국인 응답에 상당한 차이를 발견할 수 있었다. 요인분석 결과 도출된 세 가지 주요 요인 가운데 첫 번째 요인은 국가경관이미지, 두 번째 요인은 독도의 자연성, 세 번째 요인은 독도의 공간감으로 나타났다. 본 조사 연구는 제한된 시간과 여건 속에서 한정적 조사연구가 수행되었지만 추후 좀 더 전 국민을 대상으로 한 확대 연구가 필요하다. 또한 CVM(조건부 가치측정법)에 의한 독도의 경제적 가치 재평가는 조속한 시일 내에 다시 수행될 필요성이 있다.

• 한국산학기술학회논문지
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• 제15권11호
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• pp.6478-6483
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• 2014

미디어파사드는 건물 외벽을 스크린으로 삼아 영상을 투사하는 것이다. 미디어파사드는 도시 공간에서 고도의 시장 경쟁 상황에 지쳐있는 수용자의 문화적 감성을 회복하며, 도시미학으로 발전하였다. 그래서 도시가 주제가 되기도 하고 투사 대상이 되기도 하면서 영상디자인으로 재해석 될 수 있다. 문화적인 면에서의 미디어파사드는 예술적 가능성과 공공성의 강화가 논의되고 있다. 가장 고려해야 할 부분 중의 하나는 건물 또는 투사 대상 주변과 소통되는 미디어가 되어야 한다는 것이다. 2014 광화문 미디어파사드, 2014 세종문화회관 미디어파사드, 2013 남산 미디어파사드 등의 도시경관 미디어파사드를 비교분석 결과 모티브, 컨셉, 스토리, 투사형태 등 네 가지 영상디자인 구성요소를 도출할 수 있었다. 캔버스와 극장 스크린을 박차고 나아가 새로운 기술적 장르로 자리매김 하고 있는 미디어파사드는 앞으로도 한 차원 높은 도시의 상징적 예술행위로서 메시지와 테마 그리고 기술적 진보를 담아내야 한다. 본 논문은 상징적인 도시경관 미디어파사드의 비교분석을 통하여 영상디자인의 구성요소를 도출하고자 하였다.

• 건축역사연구
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• 제19권2호
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• pp.43-66
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• 2010

In that the Buddhism is the religion founded by Buddha, the settlement of Buddha's existence is very important in the temple building arrangement which symbolizes the Buddha's world. What symbolizes the Buddha in the temple are the pagoda and the Buddhist image. Among them, the Buddhist image is directly connected with the Golden Hall. This kind of double structure is settled as a typical pattern for the arrangement of buildings such as halls and pagodas. The earlier one between the pagoda and Buddhist image is the pagoda, of course. It can be inferred that, through the gradual expansion of the Buddhist images, the gravity was transferred from the pagoda to the Golden Hall. But, if the Buddhist image can be connected with the Golden Hall in that it was the product reflecting the requests on the Buddha and his teaching, the internal origin of the Buddhist image should also go back to the early Buddhism. In fact, the gravest building in Venuvana - vihara or Jetavana - anaehapindasyarama was the Golden Hall, the Buddha's residence. And in the summit of Grdhrakuta or Jetavana - anaehapindasyarama where Buddha stayed long, there is the gandha - kuti the Buddha's place till now. It means that the symbolic request on the Buddha and his teaching had existed even before the Buddhist image and that this tendency could be connected with the generation of Buddhist image. This paper is to show that the hall / pagoda structure generalized in the building arrangement of later age was originated not just from the Buddhist image and the sarira pagoda but from the gandha - kuti and the hair pagoda, and therefore the two should coexist inevitably. It is an attempt to develop a little more in the ideological perspective the general theory that the pagoda and the Buddhist image were fused into one precinct of temple later in their respective origins. That is, it tries to recognize the relation of pagoda and hall not as the conflicting one but as the complementary one.

• 한국실내디자인학회논문집
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• 제26호
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• pp.49-56
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• 2001

Science, technology and machine aesthetics were the main theme of architectural design in the first machine age. Modern architecture used the theory of science as its framework. But the theory of science was used not as a professional way, but as a pseudo-scientific way by modern architects. It was because that modern architects relied on the spiritual, mystical realm of science and mathematics. Moreover, the avant-garde movement in modernism used the theory of science and mathematics for its complicated and ailenated nature and scientific image. The pseudo-scientifism in architectural design in the first machine age was expressed mainly as a concentration on the 4th dimensional space and the use of symbolic image of science and technology.

• International Journal of Human Ecology
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• 제8권2호
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• pp.127-139
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• 2007

The purpose of this study is (1) to investigate how women's visual images in cosmetic magazine advertisements have changed over time and (2) to examine whether women's images in advertisements have changed in regards to the symbolic ambiguity of dress and appearance styles according to the time period. Social identity theory was used as the theoretical framework to understand the change of gender identity and physical appearance. The two magazines of Vogue and Working Woman were selected for the years of 1981, 1991, and 2001. The findings of the study showed that women's make-up colors portrayed in cosmetics magazine advertisements changed from artificial to natural over 20 years and messages in cosmetics magazine advertisement changed from a focus on attractiveness to a focus on skin-care and health. However, appearance styles of women in the advertisements analyzed were predominantly more feminine than masculine for the entire time period studied.

• 한국의류학회지
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• 제23권1호
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• pp.147-158
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• 1999

This study focused on situational simularity of psychedelic expressed in the mid-1960s with culture including costume in the end of 20th century. So this study is composed of psychedelic concept and the comparision of temporal background and general characteristics of psychedelia in the 1960s and 1990s and relationship with Art-Nouveau which has originated psychedelia and psycheelic image including mysticism play illusionism and narcissism. The New psychedelic revival of the early 1980s came at a time when as in the mid-1960s the world's attentions were firmly focused on British youth. The same could be said of the mid-1990s when 'BriPop' once again has international appeal and the result has been a kind of New New Psychedelic revival with all manner of British youth styles from the 1960s blended together. The swirling patterns hallucinogenic colors and space-aged designs of the psychedelics have become a symbolic representation of cocktail of youth sex and optimism

• 대한전기학회:학술대회논문집
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• 대한전기학회 1988년도 전기.전자공학 학술대회 논문집
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• pp.687-690
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• 1988

Algorithms that represent given pattern in the form of an ARG (Attributed relational graph) using not only structural relations but also symbolic or numerical attributes, and then recognize that pattern by graph matching process are presented in this paper. Based on definitions of pattern deformational models, algorithms that can find GPECI(Graph preserved error correcting isomorphism). SGECI(subgraph ECI) and DSECI(Double subgraph ECI) are proposed and comparisons among these algorithms are described. To be useful in performig practical tasks, efficient schemes for extraction of ARG representation fron raw image are needed. In this study, given patterns are restricted within objects having distinct skeleton, and then the information which is necessary for recognition and analysis is successfully extracted.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.90-94
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• 2001

This study hypothesizes that the imageability of a particular environments is decided by the unity of each visual sequences. We selected Ch'angdok Palace as our subject due to its greater applicability for image construction among various Korean architectures and their street furnitures. we apply the analytical methods of formal aesthetics and symbolic aesthetics to Ch'angdok Palace's space compositional characteristics, we can find distinctive features. The conclusions are that Ch'angdok Palace contains high probability of imageability through the contrast and harmony of two themes, reality and the ideal, and the rational and the emotional.

• 복식문화연구
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• 제15권3호
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• pp.431-445
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• 2007

The purpose of this study was to analyze and theorize the characteristics of femme fatale in fashion illustration since 1980. The method of this study was to analyze the documentaries for theoretical studies about femme fatale and the visual characteristics in fashion illustration works since 1980. The results of this study were as follows: Femme fatale expressed in the general realm of art was icon of fatal and seductive eroticism in late 19th century. She is composed of diverse images like mythology, exoticism, fear and sensuality. The characteristics of her image in fashion illustration were expressed into de-body image by union of animal and female body, or machine and female body, duplicity of death and sexuality, sexual decadence or abnormality and powerful masculine taste. First, de-body image by union of animal and female body, or machine and female body was expressed in transformed mythical image or bizarre and demonic image, grotesque image linked by picture of female body and painting of animal image, and cyborg image linked by machine and realistic female body by digital media. Second, duplicity of death and sexuality was expressed in juxtaposition by sexual pose, body and something metaphorical and symbolic depiction and de-constructive depiction of death. Third, sexual decadence or abnormality was expressed in fetishistic style, obscene depiction of cheap and hedonistic sexuality, masochistic depiction like antisocial and diseased sex appeal. Forth, powerful masculine taste was expressed in man's face, body, pose, masculine fashion, man's role related to crime and threatening weapon, etc. As mentioned above, femme fatale in fashion illustration was expressed in diverse images by fashion illustrator's point of view. Although she was originated by men's fantastic vision, she brings a catharsis to human being. And she is also recognized as new paradigm and positive cultural sign in our times.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.166-175
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• 2009

Many cities in developed countries are showing their unique urban image reflecting their own culture, history, and aesthetic tastes. Especially color, one of the major design elements, has greater impact than other visual factors to form an unique urban characteristic. Despite the long history and cultural background, Seoul as a capital city of Korea does not have been successful to show an unique city image with the perspective of color. As a leading city of design, Seoul is trying to make its own urban identity through the symbolic environmental color, 'Seoul Color'. The purpose of this study is to identify the perception on the Seoul Color established by Seoul City among design practitioners and to suggest strategies for implementing the 'Seoul Color' in various fields of environmental design to set up un unique urban image of Seoul City. For this purpose, questionnaire survey was used and 77 questionnaires were analysed. Although most of the respondents did not know the 'Seoul Color', they recognized the importance of it as a major tool of building an unique urban identity of Seoul City. Respondents recognized the representing color image of Seoul as gray. Therefore, it shows a need for environmental policy to make an eco-friendly and lively city image of Seoul instead of current monotonous image. Also in order to make a unique urban image of Seoul city, 'Seoul Color' should be applied to the shape of landscape of Seoul differently. In addition, many strategies including advertisement, education, making up obvious goals for using the 'Seoul Color', and so on were suggested as conclusion.