• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.4
• /
• pp.14-23
• /
• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.1
• /
• pp.63-73
• /
• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Science of Emotion and Sensibility
• /
• v.15 no.2
• /
• pp.231-238
• /
• 2012

This study aims for building an application system of converting sound into color image based on synesthetic perception. As the major features of input sound, both scale and octave elements extracted from F0(fundamental frequency) were converted into both hue and intensity elements of HSI color model, respectively. In this paper, we used the fixed saturation value as 0.5. On the basis of color model conversion theory, the HSI color model was then converted into the RGB model, so that a color image of the BMP format was finally created. In experiments, the basic system was implemented on both software and hardware(TMS320C6713 DSP) platforms based on the proposed sound-color image conversion method. The results revealed that diverse color images with different hues and intensities were created depending on scales and octaves extracted from the F0 of input sound signals. The outputs on the hardware platform were also identical to those on the software platform.

• The Journal of the Acoustical Society of Korea
• /
• v.30 no.3
• /
• pp.142-148
• /
• 2011

The final aim of the present study is to develop the intelligent robot, emulating human synesthetic skills which make it possible to associate a color image with a specific sound. This can be done on the basis of the mutual conversion between color image and sound. As a first step of the final goal, this study focused on a basic system using a conversion of color image into sound. This study describes a proposed method to convert color image into sound, based on the likelihood in the physical frequency information between light and sound. The method of converting color image into sound was implemented by using HSI histograms through RGB-to-HSI color model conversion, which was done by Microsoft Visual C++ (ver. 6.0). Two different color images were used on the simulation experiments, and the results revealed that the hue, saturation and intensity elements of each input color image were converted into fundamental frequency, harmonic and octave elements of a sound, respectively. Through the proposed system, the converted sound elements were then synthesized to automatically generate a sound source with wav file format, using Csound.

• The Journal of the Korea Contents Association
• /
• v.16 no.8
• /
• pp.427-434
• /
• 2016

This paper focuses on a real-time hardware processing by implementing the ARM Cortex-M4 based embedded system, using a conversion algorithm from a muscular sense to both visual and auditory elements, which recognizes rotations of a human body, directional changes and motion amounts out of human senses. As an input method of muscular sense, AHRS(Attitude Heading Reference System) was used to acquire roll, pitch and yaw values in real time. These three input values were converted into three elements of HSI color model such as intensity, hue and saturation, respectively. Final color signals were acquired by converting HSI into RGB color model. In addition, Three input values of muscular sense were converted into three elements of sound such as octave, scale and velocity, which were synthesized to give an output sound using MIDI(Musical Instrument Digital Interface). The analysis results of both output color and sound signals revealed that input signals of muscular sense were correctly converted into both color and sound in real time by the proposed conversion method.

• Fashion & Textile Research Journal
• /
• v.17 no.4
• /
• pp.524-540
• /
• 2015

This study develops textile pattern design ideas created through the visualization of music. Methods of auditory and synesthesia were employed to analyze various attributes of popular music genres and appoint language image, shape image, and color image to obtain their interrelationships. This study provides data that can be used to express emotional images on textile print pattern designs. This research used different genres of popular music as stimuli. The language image was extracted and introduced to the overall color scheme; in addition, the color image was verified. The analysis of the color image was executed by applying it with the color set image scale of I.R.I colors. Then, the color image of the target genre of popular music was examined and analyzed through a color tone system. The preference in shape image was realized through visual images based on basic principles of points, lines, and sides composition; subsequently, an analysis of the emotional image of popular music followed. An examination of the emotional images of different popular music genres have led to the discovery that language image, color image, and shape image all share a common emotional image. There was also a realization that similarity and interrelationship exists in language, color, and shape images experienced by listening to popular music.

• Science of Emotion and Sensibility
• /
• v.13 no.3
• /
• pp.559-572
• /
• 2010

Color, an important visual cue, can cross-modally affect odor association and odor quality identification Here, this research investigates aspects of the cross-modal associations between color and fragrance in greater depth, delving into the topic of whether the degree-of-association of fragrances with hue and tone of colors varies systematically. For 33 color stimuli (10 hues, 3 tones, and 3 achromatic colors), 67 subjects judged the degree-of-association of four typical fragrance families (fresh, floral, oriental, and woody) on a 7-point scale. The statistical analysis showed that fragrance associations of the all families had characteristic distributions across ten hues of the color stimuli. The cross-modal relationship between color tone (especially, lightness attribute) and fragrance association appeared to be dimensional (e.g. a positive linear relationship between the floral family and the lightness). More specifically, as colors became warmer and brighter, the associated floral scents were stronger, while the woody scents was less associated. Brighter or more vivid cool colors were associated with stronger fresh scents. These findings confirm the systematic existence of synthetic interactions between vision and olfaction in perfumery.

• Archives of design research
• /
• v.16 no.4
• /
• pp.355-364
• /
• 2003

The TUI system Modeling Language(TML) developed in this research can be used for designing TUI system with concerning about TUI's characters. For design to be concerned about physical property of tangibles and control device and digital media, TML can be a framework to give a definition of each property and be used for designing action and reaction process separately. And it would be the guideline to represent interaction's dynamic property through showing parallel information flows among objects. Finally, for verification TML's suitability, TUI system to which TML was applied was developed.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.1156-1159
• /
• 2009

Since the middle of the 1960's, revitalization of the media art has showed a new paradigm shift as a alternative to existing art genre. According to advances in technology the form of art becomes various. Nowdays, art work which is mixed with media and other genre is popular because of hybrid culture. The image medium has flexibilty to incorporate with other genre because of medium character. The media installation that applied the image medium means to mixed work of sculpture and media. The sculpture and media has been broadened the field through the media installation. this study discuss art works projected image on sculpture among various media installation works. The materiality of the sculpture and the vision of the image mix up each other. It is associated with M. Merleau-Ponty's sens theory.

• The Journal of the Korea Contents Association
• /
• v.7 no.10
• /
• pp.146-156
• /
• 2007

This study is possible because, first, "rammatology" and typography are connected by language. Second, I believe that language in typography should be comprehended in a relationship between peripheral studies such as history, philosophy, literature, and linguistics. Finally, "grammatology" is an excellent subject for experiments which attempt to rehabilitate the right of language, which is dependent on sound within the metaphysical boundary. This study is formed on the idea that the study of typography should be based on language, which is the basic foundation, and that this is possible in investigations related to peripheral studies. The main purpose of typography is an accurate delivery of meaning. However, the dynamics of creative thoughts towards advancement mainly depends on experiment, thus we cannot limit the purpose of typography as a means of communication to exchange meanings. For these reasons, I admit that interest in peripheral studies -which are not yet approached in the study on typography -take precedence.