• Title/Summary/Keyword: 음악 지각

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A Study on Self-Censorship by Conflict in the Educational Environment of Art College: Based on the attribution theory. (예술대학 교육환경 속 갈등관계에 따른 자기검열 연구: 귀인이론을 중심으로)

  • Kim, Kwang-Cheol;Song, Jin-Ho
    • Journal of the Korea Convergence Society
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    • v.12 no.3
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    • pp.151-164
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    • 2021
  • This study aimed to find ways to reduce self-censorship by identifying the conflict and attribution to the motivation for self-censorship during the curriculum of the College of Arts. The analysis confirmed the significance of each relationship by conducting a correlation and regression analysis between the variables, and the analysis of the effects was based on the significant factors among them. The analysis showed the external locus of control toward self-censorship and interpersonal conflict had a partial mediation effect. In other words, as the degree of conflict in the educational environment increases, art college students are aware of the cause of the problem due to external characteristics such as others, task difficulty, etc., and thus confirmed the conclusion that frustration and shame caused by it become the motive for self-censorship.

The Research on Online Game Hedonic Experience - Focusing on Moderate Effect of Perceived Complexity - (온라인 게임에서의 쾌락적 경험에 관한 연구 - 지각된 복잡성의 조절효과를 중심으로 -)

  • Lee, Jong-Ho;Jung, Yun-Hee
    • Journal of Global Scholars of Marketing Science
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    • v.18 no.2
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    • pp.147-187
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    • 2008
  • Online game researchers focus on the flow and factors influencing flow. Flow is conceptualized as an optimal experience state and useful explaining game experience in online. Many game studies focused on the customer loyalty and flow in playing online game, In showing specific game experience, however, it doesn't examine multidimensional experience process. Flow is not construct which show absorbing process, but construct which show absorbing result. Hence, Flow is not adequate to examine multidimensional experience of games. Online game is included in hedonic consumption. Hedonic consumption is a relatively new field of study in consumer research and it explores the consumption experience as a experiential view(Hirschman and Holbrook 1982). Hedonic consumption explores the consumption experience not as an information processing event but from a phenomenological of experiential view, which is a primarily subjective state. It includes various playful leisure activities, sensory pleasures, daydreams, esthetic enjoyment, and emotional responses. In online game experience, therefore, it is right to access through a experiential view of hedonic consumption. The objective of this paper was to make up for lacks in our understanding of online game experience by developing a framework for better insight into the hedonic experience of online game. We developed this framework by integrating and extending existing research in marketing, online game and hedonic responses. We then discussed several expectations for this framework. We concluded by discussing the results of this study, providing general recommendation and directions for future research. In hedonic response research, Lacher's research(1994)and Jongho lee and Yunhee Jung' research (2005;2006) has served as a fundamental starting point of our research. A common element in this extended research is the repeated identification of the four hedonic responses: sensory response, imaginal response, emotional response, analytic response. The validity of these four constructs finds in research of music(Lacher 1994) and movie(Jongho lee and Yunhee Jung' research 2005;2006). But, previous research on hedonic response didn't show that constructs of hedonic response have cause-effect relation. Also, although hedonic response enable to different by stimulus properties. effects of stimulus properties is not showed. To fill this gap, while largely based on Lacher(1994)' research and Jongho Lee and Yunhee Jung(2005, 2006)' research, we made several important adaptation with the primary goal of bringing the model into online game and compensating lacks of previous research. We maintained the same construct proposed by Lacher et al.(1994), with four constructs of hedonic response:sensory response, imaginal response, emotional response, analytical response. In this study, the sensory response is typified by some physical movement(Yingling 1962), the imaginal response is typified by images, memories, or situations that game evokes(Myers 1914), and the emotional response represents the feelings one experiences when playing game, such as pleasure, arousal, dominance, finally, the analytical response is that game player engaged in cognition seeking while playing game(Myers 1912). However, this paper has several important differences. We attempted to suggest multi-dimensional experience process in online game and cause-effect relation among hedonic responses. Also, We investigated moderate effects of perceived complexity. Previous studies about hedonic responses didn't show influences of stimulus properties. According to Berlyne's theory(1960, 1974) of aesthetic response, perceived complexity is a important construct because it effects pleasure. Pleasure in response to an object will increase with increased complexity, to an optimal level. After that, with increased complexity, pleasure begins with a linearly increasing line for complexity. Therefore, We expected this perceived complexity will influence hedonic response in game experience. We discussed the rationale for these suggested changes, the assumptions of the resulting framework, and developed some expectations based on its application in Online game context. In the first stage of methodology, questions were developed to measure the constructs. We constructed a survey measuring our theoretical constructs based on a combination of sources, including Yingling(1962), Hargreaves(1962), Lacher (1994), Jongho Lee and Yunhee Jung(2005, 2006), Mehrabian and Russell(1974), Pucely et al(1987). Based on comments received in the pretest, we made several revisions to arrive at our final survey. We investigated the proposed framework through a convenience sample, where participation in a self-report survey was solicited from various respondents having different knowledges. All respondents participated to different degrees, in these habitually practiced activities and received no compensation for their participation. Questionnaires were distributed to graduates and we used 381 completed questionnaires to analysis. The sample consisted of more men(n=225) than women(n=156). In measure, the study used multi-item scales based previous study. We analyze the data using structural equation modeling(LISREL-VIII; Joreskog and Sorbom 1993). First, we used the entire sample(n=381) to refine the measures and test their convergent and discriminant validity. The evidence from both the factor analysis and the analysis of reliability provides support that the scales exhibit internal consistency and construct validity. Second, we test the hypothesized structural model. And, we divided the sample into two different complexity group and analyze the hypothesized structural model of each group. The analysis suggest that hedonic response plays different roles from hypothesized in our study. The results indicate that hedonic response-sensory response, imaginal response, emotional response, analytical response- are related positively to respondents' level of game satisfaction. And game satisfaction is related to higher levels of game loyalty. Additionally, we found that perceived complexity is important to online game experience. Our results suggest that importance of each hedonic response different by perceived game complexity. Understanding the role of perceived complexity in hedonic response enables to have a better understanding of underlying mechanisms at game experience. If game has high complexity, analytical response become important response. So game producers or marketers have to consider more cognitive stimulus. Controversy, if game has low complexity, sensorial response respectively become important. Finally, we discussed several limitations of our study and suggested directions for future research. we concluded with a discussion of managerial implications. Our study provides managers with a basis for game strategies.

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Influence of 3D Stereoscopic Video Running Time on Audience Perceptions (3D 영상 시청시간 요인이 수용자 인식에 미치는 영향)

  • Lee, Min-Joo;Chung, Dong-Hun
    • Journal of Broadcast Engineering
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    • v.17 no.4
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    • pp.551-564
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    • 2012
  • The purpose of this study is to gain knowledge about the influence of running time of 3D stereoscopic video on audience perceptions. This study compares the influence of running time between 20 minutes and 40 minutes of 3D stereoscopic music shows on audience perceptions such as perceived characteristics, impression, presence, entertainment, fatigue and unnatural looking images. After experiment with 40 samples, the present research found that when people watched shorter 3D stereoscopic music video, they perceived more 3D functionality, such as depth, image conveyance and message conveyance. The results also suggest that people who watched shorter 3D stereoscopic video felt more impression such as definiteness and freshness from the 3D images. Moreover, the result confirm that when watching shorter 3D images, people felt more a sense of presence. Findings of this study have important practical implications how running time is important to 3DTV viewers. Since the nature of this study is exploratory, more research about segmented running time and genre, etc. of 3D stereoscopic videos will be needed.

Analyzing animation techniques used in webtoons and their potential issues (웹툰 연출의 애니메이션 기법활용과 문제점 분석)

  • Kim, Yu-mi
    • Cartoon and Animation Studies
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    • s.46
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    • pp.85-106
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    • 2017
  • With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.