• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.1089-1095
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• 2023

Windows are essential and important architectural elements for the organization of architectural spaces, and they give character to the space and have a great impact on the reaction of users. Virtual windows are installed to activate architectural spaces such as underground spaces where windows cannot be installed, and to provide a sense of psychological security to users in hospital clinics, etc. In this study, we reviewed the literature and collected and analyzed the precedents of virtual windows to discuss the factors necessary to improve the realism of virtual windows. The factors that affect the realism of virtual windows are further grouped into five categories: 1. Use of reproduced images or videos for views, 2. Representation of temporality, 3. Responsiveness to changes in the observer's perspective, 4. Realistic reproduction of sunlight, and 5. Provision of non-visual sensory elements. Virtual windows are not just a replacement for traditional windows, but a way to realize a virtual environment using digital media, and it is necessary to expand the discussion to the realization of the virtual environment and the relationship with architectural elements.

• Journal of Science of Art and Design
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• v.11
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• pp.51-78
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• 2007

Entertainment Industry is a high value-added business and its market includes the whole world. With high-tech industry, it is said that entertainment industry strengthen country's competitiveness, and the Korean government is trying to find a way to develop the animation industry. Some domestic feature animations were made, but they failed to get sufficient audiences. Meanwhile, Shrek 2, made by PDI, has earned about 92,000,000,000$ through just theatrical revenue. The reason is that domestic animations are not exciting. Contents should have amusement in it. The humor is the most important thing to make fun. So this thesis suggest to analyse Humor Types in animations. It is based on several theories about Humor. The types of humor defined by the previous studies are summarized into (1) humor, (2) wit, (3) satire and (4) irony. I categorize the productive methods of visual humor into (1) visual pun, (2) visual parody and (3) visual paradox adopting Henri Bergson's theory of the production methods of humor. And I comment on humorous scenes of Shrek in points of design basic elements, such as (1) visual elements, (2) relational elements and (3) practical elements. And I classify humor responses into the incongruity theory, the superiority theory, and relief theory. Therefore this study suggest a reasoned method to categorize the humor types effectively for producing or analyzing various types of humor effects in animation fields.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.413-420
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• 2024

After Friedrich Nietzsche's advocacy of nihilism, many literary works, dramas, and films have depicted aspects of human psychology associated with nihilism. Animation, too, has been used to convey nihilism, with narratives infused with nihilistic themes produced as both TV series and theatrical animations. Particularly, animation, as a visual medium capable of realizing any imaginative image unlike other media, possesses distinctive characteristics from live-action cinematography and differs from comics in its temporal properties. Hence, this study aims to analyze how Nietzsche's defined three stages of nihilism are represented within animation characters and how they construct various scenarios, using the anime "Attack on Titan" as a case study. The research unfolds by first examining Nietzsche's types of nihilism and the three stages through a review of literature, while also investigating the portrayal of nihilism in mass media and considering the unique attributes of animation. Secondly, building upon the literature review, the analysis interprets the narrative and constructed world of the chosen case study from a nihilistic perspective, examining four major characters through the stages of passive nihilism, active nihilism, and eternal recurrence. The findings demonstrate that the anime conveys two messages regarding negation and affirmation of one's life and existence, thereby offering viewers an opportunity to deeply contemplate human existence. This study is considered significant as it examines how Nietzschean nihilism is portrayed within the popular entertainment medium of animation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Korean Journal of Cognitive Science
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• v.34 no.2
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• pp.111-151
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• 2023

It is reported that binge drinkers show cognitive impairment similar to alcohol use disorder patients. A previous studies using neuropsychological tests and brain imaging techniques to investigate the visual perception of alcohol use disorder patients reported that they had global-local visual perception defects. Although the neurological basis for the global-local visual perception deficit in the heavy drinking group has been presented, there are no studies to date that have investigated the global-local visual perception in the heavy drinking group. This study investigated local-biased visual perception in female college students with binge drinking (BD) using event-related potentials (ERPs). Based on the scores of the Korean version of Alcohol Use Disorder Identification Test and the Alcohol Use Questionnaire, participants were assigned into BD (n=25) and non-BD (n=25) groups. Local-global visual processing was assessed using a local-global paradigm, in which large stimuli (global level) composed of small stimuli (local level) were presented. The stimuli presented at global and local levels were either congruent or incongruent. The behavioral results exhibited that the BD and non-BD groups did not differ in terms of accuracy and response time. In terms of ERPs, the BD and non-BD groups did not show difference in N100, P150 and N200 amplitude. However, the BD group showed significantly smaller P300 amplitude than non-BD group especially in the local condition. In addition, a negative correlation between P300 amplitude and binge drinking score was observed, i.e., severer binge drinking smaller P300 amplitude. The P300 is known to reflect cognitive inhibition and attentional allocation. In the global-local paradigm, the local condition required to attend to local target while ignoring global non-target. Therefore, the present results indicate that female college students with BD do not have local-biased visual processing, instead they seem to have difficulties in inhibition of irrelevant stimuli.

• Journal of Science Education
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• v.33 no.2
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• pp.336-345
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• 2009

The purpose of this study is to analysis ERF components patterns of causal questions generated during the observation of biological phenomenon. First, the system that shows pictures causing causal questions based on biological phenomenon (evoked picture system) was developed in a way of cognitive psychology. The ERF patterns of causal questions based on time-series brain processing was observed using MEG. The evoked picture system was developed by R&D method consisting of scientific education experts and researchers. Tasks were classified into animal (A), microbe (M), and plant (P) tasks according to biological species and into interaction (I), all (A), and part (P) based on the interaction between different species. According to the collaboration with MEG team in the hospital of Seoul National University, the paradigm of MEG task was developed. MEG data about the generation of scientific questions in 5 female graduate student were collected. For examining the unique characteristic of causal question, MEG ERF components were analyzed. As a result, total 100 pictures were produced by evoked picture and 4 ERF components, M1(100~130ms), M2(220~280ms), M3(320~390ms), M4(460~520ms). The present study could guide personalized teaching-learning method through the application and development of scientific question learning program.

• Cartoon and Animation Studies
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• s.24
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• pp.173-197
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• 2011

Through a story, the audience moves between fiction and reality. A story is an emotional experience that appeals to human feeling. The rational function of a story is to convey knowledge and information, and its emotional function is to touch the audience. Moreover, these aspects of a story are linked to its language, text, and imagery. This paper focuses on the emotional function of a story. In a experiential story, the audience's emotional response is a result of maximum dramatic communication between them and the characters. Through psychological and mental communion with the characters, the audience becomes immersed in the story when they emotionally identify with the characters, and dramatic communication is achieved. However, dramatic communication is mostly achieved instantaneously. The elements of a film need to be realized to sustain dramatic communication such that the audience continues to be immersed in the story. The audience can identify with the characters who are placed in real-life situations by considering the characters' external and internal aspects. External search pertains to the tangible aspects of the character such as its background, life, and conversation. Through the audience's external search, the characters communicate with the audience. Internal search deals with aspects of the characters' personality such as their self-concept, desires, and internal conflicts. Through internal search, the audience understands the inner side of the characters. In this process, a film director should ensure that the acting depicts the inner side of the characters. In other words, the director should perfectly depict the internal and external elements of a human on screen. Appropriate visualization can lead to dramatic communication with the characters and thereby create the audience's emotional response. Considering these techniques, this paper focuses on the scenes of the film "Poetry" in which dramatic communication with the characters creates the audience's emotional response. Accordingly, the audience plays a role in sustaining dramatic communication for the physical screen time of a film.