• Journal of Families and Better Life
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• v.27 no.1
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• pp.181-196
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• 2009

This study compared mother-toddler verbal interaction by play type (traditional play, free play, block play), and child's sex and age. Subjects were 10 boys and 10 girls ranging in age from 25- to 36-months and their mothers. An observer videotaped the children and their mothers at play in their homes. Results showed that (1) Mothers attempted more positive verbal interaction in traditional than in block play. (2) Mothers expressed more positive emotion in free than in traditional and block play. (3) Mothers more answer 'reflection' in traditional than in free play (4) Toddlers attempted more positive verbal interaction in block than in traditional and free play. (5) Toddler's positive emotion express was not distinguished by play type or by child's sex or age. (6) From 31- to 36-months's boys expressed more play situation than from 25- to 30-months' girls. This study provides groundwork for mother-toddler traditional play programs with potential for improving positive expression of emotion and language development.

• Korean Journal of Child Studies
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• v.33 no.1
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• pp.93-109
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• 2012

The purpose of this study is to explore how children aged four, in institutional care, perceive and express basic emotions, such as happiness, sadness, anger, surprise, through a role play program using dolls. This study selected two children who were both aged four years old and are currently in child institutional care. The children were observed during six role play trials using dolls and were questioned after the trials. The results were : 1) The children aged four in institutional care best perceived and expressed the emotion of happiness. 2) The children aged four in institutional care were able to positively change their feelings of sadness and expressive behavior through the intimate relationships they formed with the researcher. 3) The children aged four in institutional care expressed the emotion of anger throughout the entire role play using dolls and were positively changed the instructions and coaching given by the researcher. 4) The children aged four in institutional care had the most difficulty in expressing the emotion of surprise. The results of this study could be used as basic data for creating a program intended to help children aged four in institutional care develop their emotions.

• Science of Emotion and Sensibility
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• v.12 no.3
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• pp.267-278
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• 2009

Today an embodied agent generates a large amount of interest because of its vital role for human-human interactions and human-computer interactions in virtual world. A number of researchers have found that we can recognize and distinguish between various emotions expressed by an embodied agent. In addition many studies found that we respond to simulated emotions in a similar way to human emotion. This study investigates interpretation of mismatched emotions expressed by an embodied agent (e.g. a happy face with a sad voice); whether audio-visual channel integration occurs or one channel dominates when participants judge the emotion. The study employed a 4 (visual: happy, sad, warm, cold) $\times$ 4 (audio: happy, sad, warm, cold) within-subjects repeated measure design. The results suggest that people perceive emotions not depending on just one channel but depending on both channels. Additionally facial expression (happy face vs. sad face) makes a difference in influence of two channels; Audio channel has more influence in interpretation of emotions when facial expression is happy. People were able to feel other emotion which was not expressed by face or voice from mismatched emotional expressions, so there is a possibility that we may express various and delicate emotions with embodied agent by using only several kinds of emotions.

• Korean Journal of Child Studies
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• v.29 no.3
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• pp.253-272
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• 2008

This study compared mother-toddler physical interaction by play type (traditional play, free play, block play), and child's sex and age. Subjects were 10 boys and 10 girls ranging in age from 25- to 36-months and their mothers. An observer videotaped the children and their mothers at play in their homes. Results showed that (1) mothers' physical interaction was not distinguished by play type or by child's sex or age. (2) Mothers expressed more positive emotion in traditional than in block play. (3) Younger children's play interactions were more nonverbal. (4) Children expressed more positive emotions in traditional play. This study provides groundwork for mother-toddler traditional play programs with potential for improving positive expression of emotion and attachment.

• Korean Journal of Biological Psychiatry
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• v.3 no.1
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• pp.37-45
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• 1996

Recent studies on long-term outcome of schizophrenia revealed that schizophrenic symptoms recover in more than 50%, while it remains severe in less than 20% after 20 years or more from the onset. Psychopharmacological studies indicate that 75% of remitted schizophrenics may recur within 2 years after discontinuation of maintenance pharmacotherapy. In addition, family studies revealed that schizophrenic decompensation may occur significantly more frequent in discharged patients with high expressed emotion family than in low expressed emotion family. These findings strongly support a clinical validity of stress-vulnerability concept of schizophrenia which open a new viewpoint to two central problems in schizophrenia treatment, i.e. psychotic relapses and chronification of the fist episode schizophrenia. Moreover, recent psychopathological studies argue that schizophrenic symptoms are manifestations of psychological reaction secondary to a primary cognitive impairment(neurobiological vulnerability), which is originated in neurobiological changes in the brain. Recent approaches to the vulnerability to schizophrenic symptoms or schizophrenic decompensation are reviewed.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.05a
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• pp.51-54
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• 2005

In the contemporary, all social shifts as well as the fields of design have been changed much faster than past. And continually it will be changed in the future. In this situation, futuristic design will be much more important paradigm than now. Emotion and digital can be key issues in the futuristic design paradigms. Karim Rashid is one of most famous futuristic designers, and all his works are expressed emotion and digital. Also he uses various factors to express futurism such as curved line, futuristic colors, special materials, and so on. In the future, we will live in the emotion and digital culture age. According to social shifts, our life should be change with Futurism. Therefore his role will be more important, and he has to consider relationship between men and their surroundings as he designs all his work's range, specially housing design.

• Journal of information and communication convergence engineering
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• v.20 no.3
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• pp.174-180
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• 2022

Emotion recognition is an essential component of complete interaction between human and machine. The issues related to emotion recognition are a result of the different types of emotions expressed in several forms such as visual, sound, and physiological signal. Recent advancements in the field show that combined modalities, such as visual, voice and electroencephalography signals, lead to better result compared to the use of single modalities separately. Previous studies have explored the use of multiple modalities for accurate predictions of emotion; however the number of studies regarding real-time implementation is limited because of the difficulty in simultaneously implementing multiple modalities of emotion recognition. In this study, we proposed an emotion recognition system for real-time emotion recognition implementation. Our model was built with a multithreading block that enables the implementation of each modality using separate threads for continuous synchronization. First, we separately achieved emotion recognition for each modality before enabling the use of the multithreaded system. To verify the correctness of the results, we compared the performance accuracy of unimodal and multimodal emotion recognitions in real-time. The experimental results showed real-time user emotion recognition of the proposed model. In addition, the effectiveness of the multimodalities for emotion recognition was observed. Our multimodal model was able to obtain an accuracy of 80.1% as compared to the unimodality, which obtained accuracies of 70.9, 54.3, and 63.1%.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2004.11a
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• pp.15-15
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• 2004

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.05a
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• pp.73-74
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• 2009

본 연구에서는 선행연구를 통해 추출한 사용자가 제품을 사용하는 도중에 유발될 수 있는 인간의 감성 변화를 나타낼 수 있는 감성어휘 88 개 중에서 웹(Web)을 사용하는 상황에서 유발될 수 있는 사용자의 감성을 표현하기에 적합한 감성어휘를 추출하였다. 웹 사용빈도가 높은 남녀 대학생을 대상으로 설문조사를 실시하여 최종적으로 웹을 사용하는 도중에 유발될 수 있는 사용자의 감성을 파악하기 위한 감성어휘를 추출하였다. 본 연구를 통해 추출된 감성어휘는 웹을 사용하면서 표출되는 사용자의 감성을 측정하는 데에 필요한 평가자료로 활용할 수 있을 것이다.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.38-50
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• 2005

The purpose of this study is first, to see through the aesthetic essence of the clothing as art, through theoretical consideration of cultural feature and body style in Postmodern Feminism. Also, this study will examine the aesthetic value in artistic meaning regarding a Deformational body image in visual an. Second, this study will analysis the formative character of Modern Art to wear which expressed unfixed body style, followed by the change of Postmodern Feminity, as a Deformation image. This character will be categorized by Expansion, Grotesque, Pleasure, and Virtuality. The following is the result of this study. Expansion expressed in modern Art to wear created intentional structure of the form, and intentionally presented refusal of body existence through disembodied. Grotesque expressed refusal and deviation of women's ideal body style, which is defined by mannish discourse, very grotesquely. Pleasure pleasantly presented free emotion through an intentional transformation like distortion or imbalance of the body By paradoxically reproducing women's virtual body as other unfixed female identity was expressed visually through virtuality to embody post-gender.