• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.181-192
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• 2009

Prints in the contemporary art has the radical aspects at not only to maintain the characteristic of printmaking in a field of visual image but also to fulfill and communicate a desire of the public. We can see this from the change of the printmaking forms among the alternation of diverse expression methods and media such as from the line-cut at the Renaissance to colored print process, photography, the beginning of 20th century cartoons, advertisement, art, and graphic poster. From that, we can understand the printmaking as a fluid media, not fixed, has finely accomplished its functions as an act of visual language to smoothly communicate with the individual desire and character than word or language at the complex and various cultural surface. This study is focused on that prints as an avant-garde language in popular culture. Therefore, I have examined the following two aspects. First, with focussing at the specific characters of the graphic posters, I try to define the differences between language and visual language and the effect from it to our emotional perception and behavior with the politic and economic point of view. Second, how has the printmaking art as an fine arts finely accomplished an linguistic action. These are the purpose of this study.

• Journal of Music and Human Behavior
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• v.21 no.2
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• pp.107-134
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• 2024

This study aims to classify the semantic words commonly used to evaluate sound quality and to analyze their differences in reflecting the level of musical stimuli. Participants were thirty-one music majors in their 20s and 30s, with an average of 9.4 years of professional training. Each participant listened to nine pieces of music with variations in texture and instrument type and evaluated them using 18 pairs of semantic words describing sound quality. A factor analysis was conducted to group words influenced by the same latent factor, and a multivariate ANOVA determined the differences in ratings based on texture and instrument type. Radar charts were also drawn based on the identified sets of semantic words. The results showed that four factors were identified, and the word pairs 'soft-hard,' 'dull-sharp,' 'muddy-clean' and 'low-high' showed significant differences based on the level of musical stimuli. The radar charts effectively distinguished the sound quality evaluations for each music. These results indicate that developing Korean semantic words for sound quality evaluation requires a structure different from the previous categories used in Western countries and that linguistic and cultural factors are crucial. This study will provide foundational data for developing a verbal sound quality evaluation framework suited to the Korean context, while reflecting acoustic attributes in music listening.

• Archives of design research
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• v.17 no.2
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• pp.15-22
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• 2004

Recent complex visual culture is the visual world widely magnified according to the images like image, graphics, photograph, movie, and television, etc. by the development of digital technology. Because it conveys meanings and contents inserting sound and letters, it may have multimedia character conveying and communicating information beyond general language and letters. The vision for various images at that time is inseparably connected with language. And imaginative order of image and vision are composed of special way in culture and history. Language is different in society, culture, and history. Accordingly, if visual experience is communicated with language partially, it is difficult to have university. So, role of linguistic order plays an important role in forming and defining the social and cultural differences among the visual systems. Historically various visual and optical devices with this visual language have influenced a lot. These visual technologies are concrete and physical practice determining a way to get together with the subject and the visible object in the visible world. The visual language is connected with dimension like these symbols of images and the dimension like visual technologies to series of historical physical and institutional practices. It determines social visual mode toward object world in one of visual system. Accordingly, this study is to understand visual language with social and historical character according to the changed concept and characters as development of media technology. And it is to explain it in view of visual language as a dimension of symbol and visual technology of institutional and physical practice. After all, it cannot explain the effect on the function and visual mode of visual technology as its technical element only. It also cannot separate with the practice with coherent discourse and the physical and institutional practice. The possibility, technical element of technology contains, does not realize as it is but the effect is always communicated in the social veins and realized with a restriction.

• Journal of Conservation Science
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• v.36 no.6
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• pp.578-590
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• 2020

During the 1960-1970s, a group of ceramic conservation scientists and ceramic historians in South Korea came together and established their own disciplines. While the two disciplines share the same ceramics as the subjects of their research, there has been little interaction between the two as their research outputs are articulated in remarkably different languages. This paper aims to address the following questions by using a case study that focuses on the research on white porcelains centered on the project of Gyeonggi Museum and a series of studies conducted by one of the museum's project research teams. First, what are the characteristics of and differences between the explanation styles of the two disciplines that share the same research subjects of ceramics? Second, why has the communication between the two disciplines become difficult? Third, if there can be a trading zone wherein the two disciplines would be able to communicate again, what would be its epistemic conditions? The focus of this paper is the relationship between scientific data and ordinary language, which the two disciplines have shared from their inception. By analyzing the relationship, I first argue that, as the analytical techniques of conservation science have become more developed, conservation science's data have gradually lost its relevance in ceramic history, in spite of a shared common language between them; Second, I argue that by recovering the import of shared language again, the scientific data can be placed in a different practical context, providing novel interpretations that are relevant and often consequential to ceramic history.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.49-59
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• 2020

In this paper, we propose a speech animation synthesis specialized in Korean through a rule-based co-articulation model. Speech animation has been widely used in the cultural industry, such as movies, animations, and games that require natural and realistic motion. Because the technique for audio driven speech animation has been mainly developed for English, however, the animation results for domestic content are often visually very unnatural. For example, dubbing of a voice actor is played with no mouth motion at all or with an unsynchronized looping of simple mouth shapes at best. Although there are language-independent speech animation models, which are not specialized in Korean, they are yet to ensure the quality to be utilized in a domestic content production. Therefore, we propose a natural speech animation synthesis method that reflects the linguistic characteristics of Korean driven by an input audio and text. Reflecting the features that vowels mostly determine the mouth shape in Korean, a coarticulation model separating lips and the tongue has been defined to solve the previous problem of lip distortion and occasional missing of some phoneme characteristics. Our model also reflects the differences in prosodic features for improved dynamics in speech animation. Through user studies, we verify that the proposed model can synthesize natural speech animation.