• Journal of The Korean Association For Science Education
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• v.19 no.1
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• pp.29-40
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• 1999

The purpose of the present study was to test hypothesis that, because it uses tri-dimensional sensory pathway which have been showed a higher rate of neural activities than uni- or bi-dimensional's, lab-activity-based instruction is more effective teaching strategy in learning science than verbal-based instruction. In the present study, manipulative teaching strategy that uses visual, somatosensory and auditory information pathway was regarded as a mode of tri-dimensional sensory inputs. In addition, verbal teaching strategy that uses mainly auditory and a little visual information pathway was used as a mode of bi-dimensional sensory inputs. Fifty-six students who failed to successfully solve two proportional reasoning tasks (i.e., pouring water tasks) were sampled for this research from a junior high school. The subjects were randomly divided into a manipulative or a verbal teaching group, and given manipulative or verbal tutoring on the use of proportional reasoning strategies and a test of proportional reasoning during instruction. The results showed that manipulative group's performance on the test of proportional reasoning during instruction showed significantly higher performance than verbal group's (t=2.45, p<0.02). The present study also discussed some educational implications of the results.

• Electronics and Telecommunications Trends
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• v.20 no.5 s.95
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• pp.149-155
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• 2005

착용형 컴퓨터를 위한 햅틱 기술은 착용형 컴퓨터가 신체와 밀접하게 접촉되어 있다는 점을 이용해 피부를 통해 정보를 인지하고 표현하는 상호작용 기술을 의미한다. 피부는 신체 중 가장 표면적이 넓은 기관이면서 정보 전송을 위한 잠재적인 가능성을 가지는 통신 매개체이나 착용형 혹은 모바일 컴퓨터를 위한 사용자 인터페이스(userinterface) 분야로 활용된 사례는 드물었다. 최근 시각, 청각에 이어 피부 감각을 UI 분야로 활용하고자 하는 노력이 시도되고 있다. 본 고에서는 피부 감각을 이용한 햅틱 기술에 대한 전반적인 소개와 이를 착용형 컴퓨터를 위한 인터페이스로 활용 시 고려할점과 향후 기술 동향에 대해 논의하고자 한다.

• Trans-
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• v.13
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• pp.17-34
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• 2022

This paper summarizes the differences and characteristics between virtual worlds and virtual reality, and advances research on immersive elements for improving the reality of virtual worlds. The immersive elements are broadly studied by separating the sensory immersive elements and the technical immersive elements, focusing on the sensory organs of sight, perception, touch, and hearing, and investigating the correlation between these elements to improve the immersive feeling in content design. Set standards.

• The Journal of the Korea Contents Association
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• v.6 no.9
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• pp.124-131
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• 2006

Motion graphic is also developing into its own genre in graphic design by establishing individual industrial fields. images and graphics but also recognize even motions and sounds as communication elements delivering a message. Nevertheless, web communication designers have yet to experimentally test the visual motion priniciples or the audio sound expressions in terms of technology. If the dance are used, they may be new communication approaches in the age of multi-media, which allows for communication of visual and audio information or images. With such conceptions in mind, this study was aimed at reviewing the structural relationship between visual motion principles of the kinetic and the sound images to combine the audio and video effects. To this end, the basic structure of dance and music were substituted into the dance to determine their relevancy, and thereupon, examine the effective sound expression methods and techniques depending on movements of the objects in the monitor. Thus, this study, by inquiring into the uniqueness of choreography in motion graphic, presents the possibility of limitless expression of designer creation and inner world, and the ultimate goal lies in assuring the artistic value of motion graphic and its position as a synthetic art.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• 한국HCI학회:학술대회논문집
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• 2007.02a
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• pp.447-454
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• 2007

본 논문에서는 사용자의 가상환경 내의 위치 정보에 대한 감각을 향상시키는 방법론으로서 햅틱 피드백(haptic feedback)과 사운드 피드백(sound feedback)의 모달리티를 활용한 그리드(grid)를 제안한다. 제안된 그리드는 사용자의 3차원 공간 내의 움직임(explorative procedure)에 추가적인 비 시각적인(non-visual) 위치정보 피드백을 부여하는데 그 목적을 두고 있다. 햅틱 모달리티를 활용한 3차원 그리드는 SensAble사의 PHANTOM(R) Omni$^{TM}$ 를 활용하여 설계되었으며, 사운드 모달리티를 활용한 경우 저주파 배경음의 주파수 특성(frequency characteristics of sound source)을 사용자 손의 공간 좌표값에 근거하여 재생 시의 표본 추출 비율(sampling rate)를 연속적으로 바꾸는 방식으로 설계되었다. 이러한 공간 그리드는 두 모달리티 각각의 독립적인 제시 및 동시 제시/제거를 통해 평가되었으며, 동시 제시의 경우 두 모달리티간의 어긋남(cross-modal asynchrony)이 없도록 설계되어 사용자의 공간 작업 시 모달리티간의 조화 (manipulating congruency)를 확보할 수 있도록 하였다. 실험을 통해 얻어진 결과는 그것의 통계적 유의미성을 분석하기 위해 다원변량분석과 사후검증(Turkey. HSD)을 거쳐 해석이 되었다. 공간 내 특정 좌표 선택을 기준으로 하는 그리드의 사용자 평과 결과, 3차원 내의 움직임에 대해 햅틱 및 사운드 피드백의 비 시각적 피드백은 사용자의 공간 작업의 오차를 줄여 주고 있음이 확인되었다. 특히 시각적인 정보만으로 확인하기 어려운 Z축 상의 움직임은 그리드의 도움으로 그 오차정도가 50% 이상 줄어 드는 것으로 확인되었다(F=19.82, p<0.01). 이러한 시각적 정보를 보존하는 햅틱, 사운드 피드백 방식을 HCI의 중요한 요소인 사용성과 유용성과 연관시켜 MMHCI(multimodal human-computer interaction) 방법론으로의 적용 가능성을 검토해 본다.

• Journal of Advanced Navigation Technology
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• v.27 no.2
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• pp.155-161
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• 2023

Vertigo refers to a state in which awareness related to the location, posture, movement, etc. of a helicopter is insufficient in space. It is easy to fall into flight illusion when flying in dense fog or night flight, and even if it has a wide field of view, it can be caused by visual causes such as cloud shapes, wind conditions, conditions of ground objects, and sensory causes such as changes in air posture or gravitational acceleration. The design and program of the motion system are studied that applied a six-axis motion system to a conventional commercial flight simulator program for pilot training, depending on the specificity of helicopter flight training that requires perception and sensitivity. Using the motion-based helicopter simulator produced in this study to train pilots, it is expected to have a positive effect in prevent of vertigo, where high performance could not be confirmed in the previously used visual-based simulation training device.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.313-314
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• 2013

브랜딩의 목적은 브랜드 아이덴티티 구축의 개념에서 브랜드체험의 전달로 변화하며 오감과 감성의 활용에 주목하는 사회 환경에서 디자인도 감각디자인, 경험디자인 등으로 개념화되고 있다. 따라서 공감각적 표현의 전략적인 활용이 브랜드인지를 촉진한다는 가정을 하였다. 국내외 브랜드의 디자인에 나타나는 공감각적 표현을 분석해본 결과 시각과 청각, 촉각, 후각을 이용한 공감각적 표현이 가장 많이 나타났다.

• Communications of Mathematical Education
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• v.8
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• pp.91-105
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• 1999

직관력은 현대와 같이 급변하는 사회에서 어떤 문제의 상황을 전체적으로 파악하거나 그 본질을 인식하는데 매우 중요하다. 특히 공간 직관력은 매일을 공간 속에서 생활하고 있는 우리에게는 더욱 소중한 교육적 대상이 된다. 공간 직관력은 눈에 보이는 구체물이나 감각적으로 받아들여진 사물을 통하여 그 배후에 있는 공간으로서 추상적, 이상적인 것을 감지할 수 있는 힘이다. 수학교육학적 관점에서 보면 공간 직관력에는 시각화(도형을 인식하는 능력, 도형을 구성하는 능력 등), 공간적 관계(도형이나 공간의 확장을 이해하는 능력 등), 공간적 방향 파악(위치를 파악하는 능력 등)을 포함한다. 본 연구에서는 이들 공간 직관력을 육성하기 위하여 초등학교 교육과정과 연계하여 적절한 학습 내용 및 방법을 고찰하고자 한다.

• Journal of the Korea Convergence Society
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• v.13 no.4
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• pp.147-154
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• 2022

This paper evaluated visual function and stereoacuity function after surgery for intermittent exotropia. Subjects of this study were 18 patients (male: n = 10, female: n = 8) mean aged 12.06±5.43 years diagnosed with intermittent exotropia who underwent strabismus surgery. Of these subjects, 72.2% of the subjects underwent strabismus surgery once and 27.8% had it twice. Visual function and stereoacuity function were tested for these subjects. For data analysis, frequency analysis, cross analysis, and correlation analysis were used, and statistical significance was set at p<.05. Regarding the deviation state after strabismus surgery, exodeviation accounted for the most(72.2%), followed by diplopia(50.0%) and suppression(33.3%) for distance sensory fusion. Regarding near sensory fusion, fusion(50.0%) accounted for the most, followed by diplopia(44.4%). After strabismus surgery, subjects with distance stereoacuity blindness were the most at 61.1% and there were no subjects with a normal range of 40-60 arcsec. Near stereoacuity blindness subjects accounted for 33.3% and subjects with 40-60 arcsec accounted for 1.1%. Even after surgery for intermittent exotropia, there were some areas that did not improve in deviation state, stereoacuity, or sensory fusion. Therefore, it is necessary to manage and control strabismus through non-surgical methods before and after surgery for intermittent exotropia.