• Journal of Korean Philosophical Society
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• v.130
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• pp.23-45
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• 2014

It can be said that Scheler's theory of perception is the theory of drive-conditioned perception, in more detail the theory of drive-motoric conditions of perception. Scheler tells us that Immanuel Kant and Ernst Mach were mistaken in their assumption that sensations are purely receptive and primary in all experience. He claims that sensations are not primary but subsequent to a subliminal attention of vital drives(called 'Vor-Liebe und Vor-Interesse' by him). And because sense perception cannot take place without a vital energy of drives that account for the ongoing activity of perception, no object can be perceived unless it stimulates movement in an organism which exercises a count-movement against objects and thereby resisting objects. According to Scheler, an order of foundation such as the preexistence of images prior to perception; the priority of perception with regard to functions of senses; the priority of sense functions with regard to sensations has to be kept in mind. And it has to be kept in mind that the essence of life is pre-empirical, is pure becoming(Werden) and unbecoming(Entwerden), a process in which its two empirical sides are not yet separated. Then it is easy to see that perception is conditioned by vital drives. The drive-conditioned theory of perception is also supported by the fact that the motility of an organism determines its sensory apparatus, an organism has an alphabet of senses that can serve as signs of luring and noticing objects that are meaningful for its drive-motoric behavior. For example a lizard remains undisturbed by a gun shot but runs away from the slightest noise in the grass.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.9-14
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• 2020

This paper aims to figure out the impact of employee's travel experience on their happiness and motivations to work. To this end, targeting 405 employees in Daegu, Gyeongsangnamdo, and Gyeongsangbukdo, SPSS Statistics 18.0 program was applied to analyze. Frist, in travel experience depending on general characteristics of the targets, there was significant difference in gender, educational background, and occupation but there was significant difference in age, marital status, and average income. Second, there was difference in travel experience depending on frequency of domestic travel but no difference in terms of the period of stay. On the other hands, travel experience depending on frequency of overseas travel showd significant difference in sub-factor, human network experience. There was significant difference in overseas travel depending on period of stay. Third, travel experience showed positive relation in employee's motivation to work and happiness. Fourth, as a result of reviewing impact of travel experience on employee's motivations to work and happiness, sub-factors like emotional, behavioral, relational experiences affected motivations to work significantly. Emotional experience and cognitive experience didn't affect significant impact. And sub-factors of travel experience like emotional, cognitive, and behavioral experiences affected happiness significantly. Emotional and relational experience were not significant. From the research above, it turned out that travel experience gives happiness to employees and provokes positive thinking and their motivations to work.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.57-67
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• 2012

There is much confusion with the relationship between character and actor. Under the pressure of 'becoming' a character, the actor tends to begin his work apart from his own senses, imagination and memory, and is most likely to fall into the trap of artificiality and clich$\acute{e}$. Like every other art, the actor has to begin honestly with himself who, in nature, has unfathomable possibilities. To be and live as a character, the actor has to experience. To experience, to react. To react, to see with all the senses. Like ours, each character's life goes on from reaction to reaction, reacting to the images from the imagination and the memory. "You are what you see." The actor is put into the extremely unfamiliar circumstances of drama, given only with his own senses, imagination and memory. Fear comes in. However, fear cannot stop the actor's challenging journey to self-discoveries. The actor does and acts, not because he is certain but because he is not. The actor challenges himself to go beyond the limit and uncertainty, so that he will finally come to know and truly understand human beings from the challenges of his own. In a nutshell, acting is a journey to the unknown and the unfamiliar in which the actor unceasingly discover new 'I's.

• Cartoon and Animation Studies
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• s.33
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• pp.99-126
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• 2013

This study is meant to be seeing how fun of animation works by reviewing it theoretically and coordinating it to suggest the structure which integrates fun of animation and validates the proposed fun model. After reviewing fun theoretically, the fun of animation could be able to coordinate that fun of animation is consist of perceptive fun, cognitive fun, and psychological fun. Perceptive fun is induced by visual, auditory and other sensory information and it is directly affected the image, sound, and movement. Cognitive fun can be obtained by reasoning and interpretation to mobilize their knowledge with sensuously perceived stimulation and it is directly affected the story. Psychological fun occurs when the audience see the animation. The psychological fun is the psychological emotional state when the audience watches animation by relieving psychological congestion. It consists of fun of unfamiliarity or identification. By suggesting research model and validating it how the perceptive fun, cognitive fun, and psychological fun affects each other, perceptive fun enhances cognitive fun and psychological fun. Although cognitive fun enhances psychological fun, cognitive fun enhances psychological fun twice than perceptive fun. Also when perceptive fun affects psychological fun, cognitive fun shows the indirect effect as a parameter. In conclusion, perceptive fun affects psychological fun directly and be enhanced through cognitive fun. Fun of animation can be experienced when perceptive fun caused by accepting sensory information of animation instantly, cognitive fun caused by interpretation and understanding sensory information of animation, and psychological fun caused by relieving psychological identity through recognition fuses and acts as one. An animation emphasized a certain element is difficult to be loved by the audience. In this reason, an harmonical combination among the elements of story, image, sound and movement are important to combinate harmoniously for a successful animation to make the audiences fun by arising funny emotions.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.199-215
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• 2020

The purpose of this study is to understand dogs for their happy lives. Experiment and survey were conducted to find out the effects of sensory stimulation on dogs emotions. Sensory were divided into visual, auditory, olfactory, tactile, complex and emotions were measured by the rate of deep sleep, feed intake, and heart rate. Research has shown that complex stimulation (walking) is the most positive stimulation for dog's emotions, but visual stimulation and auditory stimulation do not act as stimuli that positively change usual state of dog's emotions. Olfactory stimuli is the second best stimulation. Since olfactory stimulation is effective in maintaining a calm state without large deviation in the dog's state, it can be used as a method for relieving the dog's stress in exceptional situations when complex stimulation is not possible. On the other hand, tactile stimulation, bath, is a negative sensory stimulus that causes hypersomnia and binge eating for most dogs.

• Journal of Christian Education in Korea
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• v.76
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• pp.27-49
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• 2023

Purpose of study: The purpose of this paper is to gain insight into the alternative possibility of Christian children's education overcoming the current church school paradigm namely schooling system by examining the characteristics and the direction of children's spiritual education. Research content and method: This paper is a review of the characteristics of children's spiritual education and ways to embody those characteristics. Therefore, it consists of two parts: the characteristics of children's spiritual education and the search for ways to embody those characteristics. First, children's spiritual education is a "formative" model that aims to form children's spirituality based on children's spirituality research that views children as 'spiritual beings.' This model specifically has three core orientations: 'experience', 'meeting God', and 'immersion'. In other words, children's spiritual education pursues 'experience rather than knowledge', pursues the experience of meeting God in the second person rather than teaching third-person knowledge about God, and values the spiritual moment of immersion more than anything else. Second, it searches for specific ways and methods through which those three core goals could be implemented, and found that they were 'sense,' 'liturgy,' and 'story.' The sense becomes a path that evokes experience, the liturgy becomes a place for 'meeting God,' and 'story' becomes a key path to 'immersion.' And when the three are organically combined with each other, the goals pursued by children's spiritual education can be holistically converged. Conclusions and Suggestions: Through these considerations, it found that the core values and direction of education are consistently maintained in children's spiritual education, from children's understanding to education methods. It also figured out that the direction should be shared not only by children's spiritual education but also by all who pursue holistic faith education: 'what to experience' rather than 'what to teach', 'liturgy' rather than 'teaching', 'story' rather than 'explanation', and 'sensory' experiences rather than 'abstract' knowledge.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.39-56
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• 2020

This study is on the creation of floral art works based on the intuitive insight acquired by methodological process of ruminating the experienced meaningful events of the artists utilizing sensible perception. The researcher used the narration and visualization techniques. The narration process adopted the writing technique of subjective impression, emotion, stream of consciousness to capture sensations of subconscious state, which were applied in three steps of 'the exploration of experiences', 'the concretion of experiences', and 'the creation of meaning out of experiences'. The visualization process adopted collection, selection, classification, and interpretation of related images, which were applied in three methods of 'the creation of images', 'the utilization of intuition', and 'the perception through remembering'. Finally 5 art works of 'Hammock is Good', 'At the Rooftop with Warm Sunshine', 'Standing at the Waterside Alone', 'Dizziness at Hot Sand Field', and 'Having Good Time at a Botanical Garden'were created through the combination of these two methods mentioned above and complementary research and writing. The meaningfulness of this research lies in presenting methodological approaches of utilizing narration and visualization of experiences in art creation process.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.45-46
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• 2003

지난 30년 동안 서구과학계는 엄청난 변화의 물결이 일어났다. 과학은 무미건조하고 어떤 감동도 주지 못하며 예술과는 거리가 멀다고 생각해 왔다. 그러나 과학과 예술과 함께 자연을 경험하는 두 가지 상호 보완적인 방법의 하나로서 최근 자연 속의 복잡한 모양이 내재하는 규칙을 이해하려는 프렉탈 과학을 통하여 과학과 예술간의 실제적 접목이 여러 가지 방향으로 시도되고 있다. 우리의 미적 감각은 자연에 나타나는 질서와 무질서의 조화로운 배열에 의해서 영감을 받는다. (중략)

• Digital Contents
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• no.2 s.129
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• pp.112-116
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• 2004

지난호에서 시공연속체인 모션그래픽의 시공간적인 측면에 대해서 살펴봤다. 이번호에서는 현실의 또다른 측면인‘청각의 세계’에 대해 알아보고자 한다. 어차피 모션그래픽이라는 것이 인간의 눈을 그럴듯하게 속이는 일이라면 보다 완벽한 환상을 주기 위해 영상이라는 것에는 사운드가 필요하다. 여기서 가장 중요한 것은 사운드는 시각과 다른 감각기관을 통해서 우리에게 감지된다는 것과 그것이 우리의 청각경험의 본질을 결정한다는 점이다.

• Archives of design research
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• v.19 no.2 s.64
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• pp.229-240
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• 2006

It is very important issue in information design to improve information efficiency by adapting interesting factors in changing circumstance of information communication. The concept of infotainment is utilized in designing information contents in a way of combining entertainment factors with information itself based on various media and representation technologies. The information arousing user's attention, which includes interesting factors, is persuasive message comppared to the informative message conveying only information itself. The reason why infotainment is persuasive is because it makes the user absorb deeply in the information during the process of understanding by sensorial stimuli, cognitive interest, and situational interest. The sensorial stimuli originates from the expression elements of information design. The cognitive interest from the user's intellectual activities has a try to overcome mental block when user confronts with the redundant expression in the manner of unexpectedness and inharmony. The situational interest originates from user's optimum experience by the flow of satisfaction. Therefore, the attribute of infotainment is defined with the stimuli, the redundancy, and user's satisfaction. Its design elements consist of physical factors, organizational factors, and psychological factors. The physical factors through sensorial stimuli are utilized by visual manipulation such as visual analogy or visual pun, multimedia, and moving expression. The organizational factors through redundant expression bring user's imagination by adapting storytelling, event, and interaction in the process of understanding information. The psychological factors through expression of entertainment interests such as humor, play, and game give users psychological satisfaction with the flow. In conclusion the concept of infotainment can be adapted when the design factors should be integrated with its attributes, or the conveying information should go well with its purpose and characteristics.