• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2011.11a
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• pp.56-58
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• 2011

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.105-115
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• 2011

We are inundated with visual media; countless such media, ranging from Hollywood blockbusters, American drama, Korean films with enormous budgets to independent films, appeal to our sensibility and engage our empathy and insight. The making of mega-hits that attract millions and a drama of viewer ratings of over forty percent lies in how persuasive the sensibility of the narratives are to an audience from a different milieu and personality. It leads to a question: how can empathy of such a varied group of people be won towards the perspective of directors and authors who come from different nationality and ethnicity to themselves? In exploring the issue, I aim to adopt a psychoanalytical view of human psychology, into consciousness and unconsciousness. Freudian psychoanalysis and Jungian analytic psychology in depth psychology underpin my analysis of visual media. It further enables my examination of unconsciousness applied to spatial design, which is elementary in visual media. In sum, this research aims to improve understanding of spatial design in films, a product of creative human consciousness, by interpreting this as an outcome of the unconscious. This is to apply the concept of collective unconscious in Jung's analytical psychology.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1999.06a
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• pp.23.1-28
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• 1999

InterSpaceTM is an advanced networked virtual reality system that presents shared three-dimensional computer graphics (CG) worlds via the Internet where multiple users can enjoy synchronous communications with voice, video and text. Users can control their avatars as a surrogate interface. In InterSpace users can walk around and interact with other people and interact with contents. In this paper, we describe the function-distributed architecture used in InterSpace. The architecture enables flexible configuration of server functions and load distribution. It also allows users to select media and client PCs to switch servers dynamically.

• 한국정보디스플레이학회:학술대회논문집
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• 2009.10a
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• pp.1183-1186
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• 2009

We have developed several three-dimensional display systems matched to human visual field characteristics. In this article, we describe these systems corresponding to a close-range, mid-distance and distance view, and also the image pickup equipments related to these display systems.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.139-147
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• 2008

Modern architecture's optical mechanism focused on Ocuularcentrism neglects the tactility of vision and tends to eliminate the optical and tactile dualism of traditional spaces by representing spaces and surfaces that are abstract and cold-hearted. In other words, all sensory experiences, except for visual experiences, are eliminated to make it impossible to create the substantial core of architecture that combines time, image, and surface textures. The fast-changing social trends, the emergence of new materials and technologies, and the corresponding development of various types of media since the Industrial Revolution have changed the paradigm of human perception and representation. With the development of media, other sensory experiences besides visual experience have been stressed and human perception has converted from single perspective to complex perspective. In result, new sensory items, such as visual tactility, have replaced the traditional vision-centered hierarchy. The composition of architectural surfaces has represented the functional and commercial needs of technology, structure, as well as the socio-cultural needs of the community. In contemporary times, it is being changed and developed by the new tactility and the corresponding expression of modern architecture. Based on the visual representation of tactility of architectural surface, this study used a composition of surface that combines various events, meanings, and senses to examine how architecture can mediate and reproduce viewers' visual experiences and discover the existential relationship between architecture and men.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.05a
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• pp.365-368
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• 2011

Image is the one of the media that satisfy the wants of people. A motion graphics is a new media stimulating not only a visual but also a hearing of people, and has gained attention by an important emotion communication way that communicates the sound and the visual messages to the audience. In this paper we study on what feelings the motion graphics used on the stage background communicates to the audience, and what its effects and efficiencies are. Because it is not generalized to apply the motion graphics to the stage background, the range of the study can't help being limited. However, recently during two or three years, the use of the motion graphics is increasing more and more, and we expect that its utilization is more expanded.

• Smart Media Journal
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• v.11 no.6
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• pp.30-36
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• 2022

This paper explored the effect of using eye gaze pointer in addition to the hand gesture visual communication cue in remote collaboration. We recruited 24 participants and conducted a user study comparing two conditions: (1) only hand gesture visual communication cue, and (2) eye gaze pointer with hand gesture visual cue. The results showed that the added eye gaze pointer cue reduced the workload and increased the co-presence when using it together with hand gesture cue.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.339-342
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• 2010

This thesis is the analysis of programing cases by which each broadcasting station generates visual studio. When the broadcasting stations make programs, they overcome the visual limitation of expression by using visual studio other than the real set. This trend is the progress toward more realistic and delicate image by almost perfect image expression, not just broadcasting production by mere synthesis operation. It suggests the development direction toward visual studio production by analyzing production cases using domestic visual studio.

• Hwankyungkyoyuk
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• v.9 no.1
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• pp.30-38
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• 1996

The purpose of this study was to survey on the awareness of teachers and students to mass media as a source for school environmental education. This study was performed with the questionnaire to 179 teachers who participated in certificate in-service training for $\ulcorner$Environment$\lrcorner$subject and to 635 students(primary: 177, middle: 179, high school students: 279). The results derived from this study were as follows: First, most teachers(86.6%) evaluated that mass media's effects on students were high and positive in terms of school environmental education, thus they thought that the application necessity and possibility of mass media for environmental education were so too. Second, many teachers evaluated that more program related with environment had to be produced(57.0%) and disseminated, and information on them had to be apprised teachers to activate school environmental education(44.1%). Third, both teachers(87.1%) and students(70.4%) evaluated that audio-visual media such as television, video, movie was better than others for environmental education because audio-visual media could be more realistic and dynamic(T: 48.0%, S: 41.7%). Fourth, we found that as the result of statistical analysis, students's friendliness. credibility and preference on media were different to school classes. But we could not analize the relationship between factors for the limit of sample.

• Journal of Korea Multimedia Society
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• v.23 no.9
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• pp.1210-1218
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• 2020

This study selected brand logos of six South Korean and Chinese banks including KB, IBK, SH, ICBC, ABC, and SISB, conducted Eye Tracking experiment among 36 South Korean and Chinese university students(Nine male and female students, respectively), and analyzed the difference of visual attention of consumers on bank brand logo, symbol, Korean/Chinese character logo types as well as the difference of visual attention of these consumers on English logo types. Results were represented by using statistics and visualization including GAZEPLOT, HEATMAP, and visual expression. Results showed that most generally gazed logo types more often and longer than symbols when they watched bank brand logos. A slight difference was observed between both groups in terms of gazing English logo types. This study has a implication that it proposed the possibility of drawing quantitative and reliable outcomes by utilizing eye tracking device and approaching in an objective standpoint beyond a methodological aspect on bank brand logo primarily leaning over the analysis of case research or design development. Moreover, findings are expected to serve as basic data for proposing the direction of special bank brand logo design and marketing strategies.