• Journal of Korea Entertainment Industry Association
• /
• v.10 no.4
• /
• pp.77-92
• /
• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

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

• The Journal of the Korea Contents Association
• /
• v.10 no.3
• /
• pp.149-156
• /
• 2010

There are elements for the game user get into the emotion of flow (the mental state of operation in which the person is fully immersed in what he or she is doing by a feeling of energized focus, full involvement, and success in the process of the activity). In game contents, for example, a considerable sophisticated application of 'sound' is one of the important elements must be considered for a qualified game development process. If a proper audio condition is satisfied, a game user is intrinsically solving problems by auditorial sense and the participant get into immersing into the game spontaneously. There are elements in game contents storytelling for the user to be in flow condition, this study will be analyzing a game user's flowing, especially with repetitive usage of sound. To be accurate, 'flow analysis' of Csikszentmihalyi. M, and 'flow factors' of Donna L. Hoffman & Thomas P. Novak, in addition, would be proper references in the research. comparing to a precedent study that analyzed a game and flow focused on visual elements. Ponpoko(Sigma Enterprise Inc., 1981) and Bio Hazard 4(Capcom, 2007) will be given as the main texts. To achieve the desired proposition in the study, user's reaction is monitored by listening repeatable and ordinary sound. Questionnaires are including Frequency Analysis, MANOVA(multivariate analysis of variance).

• The Journal of the Korea Contents Association
• /
• v.7 no.8
• /
• pp.1-12
• /
• 2007

This paper presents a new demixing method that separates each source from a stereo sound mixture. Under the W-Disjoint Orthogonal assumption in DUET(Degenerate Unmixing Estimation Technique) algorithm. The proposed method is mainly processed in time-frequency domain by using windowed-fourier transform. In this paper there are two main contributions: a weighted mask by panning index distances and a binary mask by comparing each channel value. The former has tender demixing characteristic, and the latter has stronger demixing characteristic. In experimental results, we will show that both masks produce more robust demixing than the existing demixing methods do.

• Digital Contents
• /
• no.10 s.125
• /
• pp.122-125
• /
• 2003

모바일 환경에 있어서 '무선 인터넷 콘텐츠' 혹은 '모바일 콘텐츠'라는 말을 사용하게 됐던 것은 불과 5년도 채 되지 않는다. 유선 인터넷으로서는 무선 인터넷에게 한참 어린 후배 정도일 수 있다. 사실 유선 인터넷이 국내에서 대중화된 시점을 1996~1998년 정도로 생각한다면, 무선인터넷이 그렇게 많이 차이가 나는 것은 아니다.

• Journal of Digital Contents Society
• /
• v.7 no.1
• /
• pp.1-8
• /
• 2006

The development of mass media along with technology development is accelerating the development of diverse contents. Among others, the role of music contents is now extended to be applicable to the overall cultural contents thus, the market is growing at a rapid speed. As the music market transforms from the record market to the digital music source market, the creation, distribution, and marketing techniques of digital sound contents become different. Likewise, the music industry has been dynamically changed and came to even demand a paradigm shift in the music industry. This study is meaningful in that it aimed to contemplate additional on-going issues for developing the music industry, such as national policy and support, amendment of related laws, and public awareness, and to suggest an aim to head for.

• The Journal of the Korea Contents Association
• /
• v.16 no.2
• /
• pp.14-24
• /
• 2016

Recently, the sound design of the electric vehicle has emerged as one of the new research objects. This study was conducted to explore and examine major values of interior driving sound of the electric vehicle from the perspective of user experience. An exploratory study based on the ground theory extracted contextual information and quietness as independent variables, and then we analyzed the main and interaction effects of those two variables on the usefulness, emotion, and satisfaction through a $2{\times}2$ factorial experimental design. The experimental study demonstrated that the effect on the user experience of electric vehicle can be conditioned by the combination of contextual information sound and quietness. Based on the results of this study, we suggested future research agendas for the optimization of user needs which reflect individual preference of interior driving sound values.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2015.07a
• /
• pp.429-432
• /
• 2015

본 논문에서는 기존의 채널기반의 오디오 기술에 대해 다양한 서비스가 가능하고, 재생환경에 독립적인 객체기반 실감음향 기술에 대해 논하고자 한다. 현재, 극장 사운드를 중심으로 객체기반 오디오 기술이 적용된 사운드가 점차 확산되고 있으며, 미국, 유럽 등 차세대 방송용 오디오에 객체기반 오디오 기술의 도입을 적극적으로 고려하고 있다. 객체기반 오디오 기술은 콘텐츠의 제작단계에서 재생환경을 고려할 필요가 없고, 현장의 음향을 신호와 3 차원 공간 정보로 구분하여 음향 공간의 정보를 그대로 표현함으로써, 재생환경에서는 3 차원 공간 정보를 활용하여 다양한 3 차원 음향 재생 기술을 활용하여 재생할 수 있다. 이러한 객체기반 실감음향 기술 개발을 위해서는 편리한 제작 및 3 차원 공간 정보 표현 기술이 필요하며, 청취환경에서는 객체기반 실감음향 콘텐츠를 제작자의 의도대로 렌더링할 수 있는 재생 및 제어 기술이 필요하다. 이에 객체기반 실감음향 기술의 기술동향과 객체기반 실감음향 서비스를 위한 콘텐츠 표현/제작 및 재생 기술에 대하여 고찰해 보고자 한다.

• The Journal of the Korea Contents Association
• /
• v.18 no.8
• /
• pp.82-91
• /
• 2018

This paper examines the sound of Godard's <$Pr{\acute{e}}nom$ Carmen> from Deleuze's film aesthetics and Merleau-Ponty's phenomenological point of view. The rehearsal scene of a string quartet is a mirror-image that illuminates the music itself, and becomes a crystal-image with the indiscernibility of the present and the past in the break with the main narrative. On the other hand, urban noise and waves are the seeds composed of pure optical (sound) images and grow into pure sound crystals that collide with what is seen through the juxtaposition, substitution, and intentional connection of sound. However, these sound contradictions also lead to the integrated sound category as a 'sole movement' through Merleau-Ponty's dialectical thought, and even the dialectical sound management of pop and classical music is no longer a confrontation of the genre, but is integrated into the materialistic category of sound. This study is differentiated from the existing research by solving the sound aesthetics of the Godard's film through philosophical thought.

• The Journal of the Korea Contents Association
• /
• v.14 no.6
• /
• pp.26-33
• /
• 2014

From a film esthetic point of view, this paper deals with all the sound elements which are speech, noise, and music for the signification of sound in Hitchcock's . The speech makes a mental image auditory through voice-over, and sometimes it has the indiscernibleness of life and death to be incarnate. This paper has demonstrated that the noise also can mark punctuation-narrative boundary besides visual techniques pointed out by Metz, and it cites the sound of falling water which completes shower scene, offsetting a scream in audience's mind. In the music, desire and oppression are symbolized and they are making a dissonance. Upon occasion, the coexistence of two chords represents duplicity in Norman-mother. Also, the music may disappear in the way of silence, being mummified in the time paused. Thus, the common filmic signification of sounds in can be called reconceptualization of the image.