• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Journal of the Korea Convergence Society
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• v.12 no.5
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• pp.127-138
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• 2021

The aim of this study is to demonstrate interaction as a describable field and tries to understand interaction from the perspective of attributes, thus building a theoretical to help interactive designer understand this field by common rule, rather than waste huge time and labor cost on iteration. Since the concept of interaction language has been brought out in 2000, there are varies of related academical studies, but all with defect such as proposed theoretical models are built on a non-uniform scale, or the analyzing perspective are mainly based on researcher's personal experience and being too unobjective. The value of this study is the clustered resource of research which mainly based on academical review. It collected 21 papers researched on interaction paradigm or interaction attributes published since 2000, extracting 19 interaction attribute models which contains 174 interaction attributes. Furthermore, these 174 attributes were re-clustered based on a more unified standard scale, and the two theoretical models summarized from it are respectively focuses on interaction control and interaction experience, both of which covered 6 independent attributes. The propose of this theoretical models and the analyzation of the cluster static will contribute on further revealing of the importance of interaction attribute, or the attention interaction attribute has been paid on. Also, in this regard, the interactive designer could reasonably allocate their energy during design process, and the future potential on various direction of interaction design could be discussed.

• Journal of The Korean Association For Science Education
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• v.34 no.6
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• pp.601-611
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• 2014

The purpose of this study is to analyze the Korean science magazine, Science Donga providing scientific facts, phenomenons, and issues with infographic for the readers by time series analysis and to search for the application of infographic on the science education. The criteria for the infographic analysis of Science Donga consisted of three categories such as storytelling type, visual perception, and framework level because infographic presents complex information quickly and clearly by integrating various images, words, and graphics. We found that the articles emphasized by including image about science issue have been published from 1986 to 2014. Particularly, after 2008, the articles including infographic sharply rose. So we set up 2008 as $T_c$(Critical time point). The articles including infographic after 2008 have been more variously distributed and frequently used in storytelling types category such as location, time, number, connection, function, and process based infographic, in visual perception of Gestalt Theory such as proximity, similarity, continuation, and closure than before 2008. Lastly, in framework level category, location, time, number, and process based infographic mainly had total range level but function and connection based infographic changed in the framework level. The three features about storytelling type, visual perception, framework level are important changes to influence $T_c$ in the infographic analysis about Science Donga. Through the results of this study, we analyzed the feature of change on infographic from 1986 to 2014. Thus, we hope that the results suggest a basic criteria for making materials including infographic in science education.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.