• Proceedings of the Korean Society for Cognitive Science Conference
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• 2000.05a
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• pp.87-92
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• 2000

이 연구에서는 단어를 지각하게 되면 그 단어에 대한 의미가 자동적으로 활성화되고 그림표상까지도 활성화되지만, 그림을 지각하고 난 후에는 의미표상체계는 활성화되지만 단어의 지각적 표상체계는 활성화되지 않는지를 살펴보고자 하였다. 실험 1과 2에서는 지연시간을 달리하여 그림을 지각적으로 처리를 하게 한 후 단어에 대한 점화효과를 보았으며, 실험 3 에서는 그림을 개념주도적 처리를 하게 한 후 단어에 대한 점화효과 및 암묵적 기억과 재인기억을 비교해 보았다. 실험결과 지각적 판단과제에서는 조건간의 아무런 차이가 없었지만, 의미적 판단과제에서는 동일조건과 그림조건에서의 반응시간이 통제조건을 포함한 기타 조건들에서보다 빠른 것으로 나타났다. 이러한 결과는 의미적 표상체계로부터 단어의 지각적 표상체계까지의 상호작용 통로가 존재하지 않으며, 그림자극이 단어자극의 점화효과에 영향을 주는 이유는 동일한 의미적 표상체계의 활성화가 단어자극의 지각적 표상체계까지 확산되기 때문이 아니라, 그림자극에 대한 의미적 표상체계가 활성화되기 때문이라는 점을 시사한다.

• Korean Journal of Cognitive Science
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• v.11 no.3_4
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• pp.45-55
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• 2000

This study was conducted to examine whether conceptual representational system was implicitly accessed while processing semantically similar but perceptually dissimilar pictures either conceptually or perceptually, The results indicated that the priming effects for the semantically similar picture pairs were found in conceptually driven processing but the effect was not found in data-driven processing. In addition. the semantic priming effect was found with 24 hour delay between the stimuli, The comparison of the recognition ratio and priming effects indicated that the priming effect was largely affected by semantically similar pictures. but recognition was relatively u unaffected, The results suggest that both Perceptual Representational System (PRS) and Conceptual Representational System (CRS) be involved during conceptually driven processing, but both PRS and CRS function independently during explicit recognition.

• Phonetics and Speech Sciences
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• v.14 no.4
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• pp.1-10
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• 2022

The Korean polysemic ending '-(eu)lgeol' can has two different meanings, 'guess' and 'regret'. These are expressed by different boundary-tone types: a rising tone for guess, a falling one for regret. Therefore the sentence-final boundary-tone type is the most salient prosodic feature. However, besides tone type, the pitch difference between the final and penultimate syllables of '-(eu)lgeol' can also affect semantic discrimination. To investigate this aspect, we conducted a perception test using two sentences that were morphologically and syntactically identical. These two sentences were spoken using different boundary-tone types by a Korean native speaker. From these two sentences, the experimental stimuli were generated by artificially raising or lowering the pitch of the boundary syllable by 1Qt while fixing the pitch of the penultimate syllable and boundary-tone type. Thirty Korean native speakers participated in three levels of perceptual test, in which they were asked to mark whether the experimental sentences they listened to were perceived as guess or regret. The results revealed that regardless of boundary-tone types, the larger the pitch difference between the final and penultimate syllable in the positive direction, the more likely it is perceived as guess, and the smaller the pitch difference in the negative direction, the more likely it is perceived as regret.

• Korean Journal of Cognitive Science
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• v.13 no.4
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• pp.9-21
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• 2002

Four experiments were conducted to examine whether maintaining the same conceptual context across study and test would affect performance on a perceptual implicit memory task. The sense-specific theory of priming (Lewandowsky et al., 1989) predicts greater priming from a match in conceptual context across study and test compared with a condition in which the conceptual context is mismatched, whereas the transfer-appropriate-processing view (e.g., Blaxton, 1989) predicts no difference. In experiment 1 and 2, little or no effect of varying context was observed on a implicit task. In experiment 3 and 4, a process-dissociation procedure (proposed by Jacoby, 1991) was used to separate automatic influences from consciously controlled influence in implicit memory, which was measured by Korean word completion task. The results showed that conceptual context effect was observed in consciously controlled parts of implicit memory. These results suggest that only consciously controlled processing parts of implicit memory is sensitive to conceptual context.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.139-155
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• 2019

The Plays of Kang Yang Won and the Theatre Troupe Dong don't aim to use the body as a system of sign in order to express the mind. They want to show the physical presence of an actor which induces sensuous perception of audience, so the possibility of the aesthetics of performativity can be open. Therefore, the properties of body sound and space have important meaning. At the same moment the body of audience has to be open to the perception. It means that the audience has to be ready to perceive the energy breathing density and tension etc. which the body of actor causes. As a result, the audience experiences a simultaneous opening of consciousness and perception: simultaneous opening of consciousness and perception gives the chance of receiving the emergent meaning.

• Korean Journal of Cognitive Science
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• v.30 no.1
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• pp.31-50
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• 2019

The present study is designed to investigate the effect of perceptive, emotional and semantic distinctiveness on retrieval-induced forgetting(RIF). Experiment 1 was designed to construct a category and category list for RIF experimental paradigm and to investigate the effects of perceptual distinctness on retrieval-induced forgetting. It was used for the list consisting of the six categories and six words in each category list. In controlled conditions, all the stimuli were presented in black and Gothic. In contrast, perceptual distinctiveness conditions, half of the category list were presented in red and Gungseoche. RIF was observed in all conditions. Experiment 2 was designed to investigate the effects of semantic and emotional distinctiveness on retrieval-induced forgetting. In neutral conditions, adjectives related to items were added. In the emotional distinctiveness condition, half of the items in the category were manipulated in such a way as to add the negative adjectives. In the semantic distinctiveness condition, half of the items in the category were manipulated in such a way as to add the inappropriate adjective. As a result, RIF occurred in the neutral condition, but RIF did not occur in both the emotional discrimination condition and the semantic discrimination. These results suggest the possibility that the RIF will not occur when the distinctiveness occurs within a categorical relationship.

• Phonetics and Speech Sciences
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• v.12 no.4
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• pp.27-36
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• 2020

The aim of this study is to investigate the perceptive aspects of the polysemic sentence final ending "-(eu)lgeol" produced by Chinese Korean learners. "-(Eu)lgeol" has two different meanings, that is, a guess and a regret, and these different meanings are expressed by the different prosodic features of the last syllable of "-(eu)lgeol". To examine how Korean native speakers perceive "-(eu)lgeol" sentences produced by Chinese Korean learners and the most saliant prosodic variable for the semantic discrimination of "-(eu)lgeol" at the perceptive level, we performed a perceptual experiment. The analysed material constituted four Korean sentences containing "-(eu)lgeol" in which two sentences expressed guesses and the other two expressed regret. Twenty-five Korean native speakers participated in the perceptual experiment. Participants were asked to mark whether "-(eu)lgeol" sentences they listened to were (1) definitely regrets, (2) probably regrets, (3) ambiguous, (4) probably guesses, or (5) definitely guesses based on the prosodic features of the last syllable of "-(eu)lgeol". The analysed prosodic variables were sentence boundary tones, slopes of boundary tones, pitch difference between sentence-final and penultimate syllables, and pitch levels of boundary tones. The results show that all the analysed prosodic variables are significantly correlated with the semantic discrimination of "-(eu)lgeol" and among these prosodic variables, the most salient role in the semantic discrimination of "-(eu)lgeol" is pitch difference between sentence-final syllable and penultimate syllable.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2002.05a
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• pp.231-235
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• 2002

본 논문에서는 전문 안무가와 일반인들을 대상으로, 현대적 스타일의 독무와 임의적으로 움직이는 육면체를 제시할 때의 두뇌 활동 양상을 fMRI를 통하여 알아보았다. 피험자들은 총 8명으로 구성되었으며, 4명은 안무 전문가들, 4명은 동일한 연령대의 일반인들이었다. 피험자들은 시각 자극으로 제시되는 춤동작과 다양하게 변화하는 단순한 육면체의 움직임을 아무런 반응 없이 보는 과제를 수행하였다. 두 피험자 그룹 모두에서 육면체의 움직임보다 무용을 응시할 때 occipital cortex에서 더 큰 활성화를 보였고, 특히 좌측 STS와 angular gyrus사이의 경계선 영역, 그리고 좌측 fusiform gyrus에서는 안무가들이 무용을 볼 때 일반인들보다 더 높은 활성화를 나타내었다. STS/angular gyrus와 fusiform gyrus가 시각 자극의 의미 표상을 이해하는데 관련이 있고, angular gyrus가 사전적 의미 해석에 있어 중계적 역할을 하는 곳이며, fusiform gyrus는 사물을 지각하는데 있어서 보조 역할을 맡고 있다는 논의를 바탕으로, 무용가들은 그들이 지니고 있는 안무에 대한 전문적인 소견과 지식을 이용하여 몸의 움직임을 분석할 수 있고, 또 그것에서부터 어떠한 상징적인 의미까지 끌어내어 결과적으로 의미 추출의 과정에서 두뇌의 semantic network를 활성화시킨다고 볼 수 있다.

• 한국노년학
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• v.39 no.2
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• pp.363-388
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• 2019

This study examined the influence of subjective age on subjective well-being and depression, and the mediating effect of meaning in life. A survey of 394 adults aged 40 or older completed a questionnaire concerning subjective age perception, meaning in life, subjective well-being, and depression. The main results are summarized as follows. First, the analysis of subjective age according to the sociodemographic variables showed that middle-aged and elderly people, who were highly educated and had good perceived health status, felt themselves younger than their counterparts did. Second, a young subjective age had a positive effect on meaning in life and subjective well-being while negatively influencing depression. Third, meaning in life significantly mediated the relationship among subjective age, subjective well-being, and depression. In other words, the younger the middle- and old-aged adults perceived themselves, the more meaning they found in life, which led to higher subjective well-being and lower depression. These findings suggest that, as people get older, perceiving themselves as younger than their chronological age can protect their mental health, and meaning in life plays an important role in the process.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.