• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.80-85
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• 2024

The concept of single-modal digital art originated in the 20th century and has evolved through three key stages. Over time, digital art has transformed into multi-modal interaction, representing a new era in art forms. Based on multi-modal theory, this paper aims to explore the characteristics of interactive digital art in innovative art forms and its impact on user experience. Through an analysis of practical application of multi-modal interactive digital art, this study summarises the impact of creative models of digital art on the physical and mental aspects of user experience. In creating audio-visual-based art, multi-modal digital art should seamlessly incorporate sensory elements and leverage computer image processing technology. Focusing on user perception, emotional expression, and cultural communication, it strives to establish an immersive environment with user experience at its core. Future research, particularly with emerging technologies like Artificial Intelligence(AR) and Virtual Reality(VR), should not merely prioritize technology but aim for meaningful interaction. Through multi-modal interaction, digital art is poised to continually innovate, offering new possibilities and expanding the realm of interactive digital art.

• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.149-157
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• 2016

The purpose of this study aims to investigate the characteristics of architectural association methods which apply Hall's poetic concept by looking into how Hall extracts languages and images under what circumstances and by analyzing how the extracted elements are integrated into an architectural space through what association processes. First of all, poetic association functions in the architectural process are compared, and the value of using visual associations in architectural designs are investigated based on the results of the analysis. Next, Steven Holl's poetic concept is investigated in the context of the concept extraction step, the idea expansion step, and the space composition step in order to find out how such association methods work in the process of architectural designs. The methods of reproducing, changing and using Steven Holl's poetic concept can be summarized as follows in relation with experiential associations, multi-meaning associations and morphology associations: 1) Steven Holl's experiential associations are a method of expressing perceived images in the form of languages in the process of interpreting land and programs. This method has the characteristics of reproducing various architectural ideas by generating a relationship between invisible characteristics of land in images and languages. 2) Steven Holl's multi-meaning associations are a method of directly associating a project with related objects and incidents, or of coming up with a hidden meaning. It has the characteristics of changing ambiguous images of metaphoric, figurative or ironic languages into concrete architectural images. 3) Steven Holl's morphology associations is a method of expressing morphology images and languages which are directly related to the images. Morphology associations have the characteristics of regenerating sensory experience elements into languages or images, which can be seen experiential associations; or they use metaphoric images in architecture by substituting them with other architectural elements, which can be seen in multi-meaning associations.

• International Journal of Control, Automation, and Systems
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• v.2 no.3
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• pp.390-397
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• 2004

This paper presents the design and testing of a multi-channel vibrotactile display. It is composed of a cylindrical handle with four embedded vibrating elements driven by piezoelectric beams. Vibrations are transmitted to the hands through arrays of pins. The device was tested in sensory substitution for conveying force information during a teleoperated peg insertion. Results show that the device is effective in reducing peak forces during the insertion task.

• Korean Journal of Ichthyology
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• v.26 no.4
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• pp.281-287
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• 2014

An olfactory organ in Scartelaos gigas, so-called mudskipper known as adaptation to an amphibious lifestyle, was investigated anatomically and histologically. S. gigas possessed the paired olfactory organ comprising respectively the one elongated canal and two nasal sacs, lacrimal and ethmoidal nasal sac. The sensory epithelium developed partly in the canal contained four distinct types of cells: (1) receptor cell with 3 to 4 cilia in number, (2) supporting, (3) basal, (4) mucus cell. The sensory epithelium was also of transitional layer as multi cellularity structure. The non-sensory epithelium had no sensory elements. The two nasal sacs possessed typically a lot of mucin droplets. These results might be considered that anatomical structure and histological characters of the olfactory organ showing in S. gigas is adapted to semi-aquatic life associated with its ecological habit and habitat.

• Journal of People, Plants, and Environment
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• v.21 no.6
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• pp.501-514
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• 2018

This study aimed to develop a program that can be linked to gardening education activities in elementary students' curriculums and creative experience learning courses, and to apply the developed program to 6th graders in an elementary school located in Seoul. Research was conducted in a large category called biophilia, which named the instinct of human nature and nature throughout the research. The curriculum revised in 2015 was selected for the purpose of the garden education program based on the objectives and contents of the unit, and for the purpose of the class. In the process of developing and implementing the program, experience properties and elements were divided into direct and indirect experience of nature, including shapes and forms found in nature, air, water, plants, weather, animals, and natural materials. The results showed that the biophilic horticultural education program was effective in promoting students' multi senses. In the case of the experimental group, all the multi-sensory areas showed statistically significant differences, especially in the area of environmental literacy, environmental effect and emotional balance including plant cultivation knowledge. There was a relatively smaller difference in the dietary effect area than other areas because of no directional dietary program was included in the developed program. As a result, first, it is expected that the data can be utilized on site as a program or place of activity for students in upper grades. Second, it will be necessary to develop a more diverse program using other biophilic elements that were not covered in this study in order to maximize the effects of biophilic education.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.575-584
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• 2022

The purpose of this study is to derive interaction types that appear variously in immersive contents through John Dewey's empirical theory, and to explore how the derived types are delivered in real cases. For this reason, two cases of the National Museum of Korea 'Immersive Digital Gallery' and 'Arte Museum Jeju' were analyzed through interaction types derived from the empirical theory. The interaction types derived based on the experience theory are the elements of 'multi-sensory', 'simultaneous experience' and 'sensory expansion'. In both cases, these types appear connected rather than grafted one by one in common. In one direction, 'multi-sensory' leads to 'sensory expansion', and in two directions, 'simultaneous experience' leads to 'sensory expansion'. As such, the core types of communication between technology and humans are not delivered one by one, but a cycle of interaction is formed in multiple ways. Therefore, it can be seen that the interaction type of immersive contents is expanded step by step by fusion of various senses and experiences in various fields, rather than a 1:1 partial delivery method. Based on this, it will be necessary to study how types are expanded and how viewers are affected when interaction is implemented in immersive contents in the future.

• 한국HCI학회:학술대회논문집
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• 2007.02a
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• pp.500-506
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• 2007

얼굴에 대한 시각적 인지는 오랫동안 인간에게 중요한 문제로 인식되어 왔다. 수 세기 동안 이루어져 왔던 미용 화장과 성형, 치아 교정 등의 다양한 연구는 사람의 얼굴을 감성적 측면에서 어떻게 하면 아름답게 만들 수 있는 가에 초점을 두었다. 본 논문에서는 휴먼 입출력 인터페이스로서 햅틱 장치와 스테레오 디스플레이를 혼합한 다중 감각 인터랙션 기반의 감성적인 3차원 얼굴 메이크업 시뮬레이션 프레임워크를 개발한다. 본 연구는 3차원 스캐너 장비로부터 사용자의 얼굴 모델을 추출하고, 그 데이터를 이용하여 자연스럽고 직관적인 얼굴 메이크업 시뮬레이션을 수행하는 것을 목표로 하고 있다. 이를 위하여 본 연구에서는 surface elements 표현 기반의 3차원 얼굴 필터링 방법과 얼굴 메이크업을 지원하는 페인팅 방법을 개발한다. 우선 사용자의 얼굴 모델을 3차원 스캐너로 획득한 후, 전처리 얼굴 필터링을 수행하여 조명, 그리고 사용자 얼굴 피부 상태에 기인하는 에러 및 속성들을 보정하고 피부 톤을 사용자가 선호하는 색으로 변경한다. 최종적으로 사용자는 햅틱 및 스테레오 디스플레이 장치를 이용하여 두 개의 레이어로 구성된 페인팅 표면 모델에 메이크업을 수행한다. 본 연구에서 적용한 surface elements 표현 기반의 그래픽 렌더링은 일반적인 메쉬 기반 페인팅의 문제점인 텍스쳐 왜곡 현상을 완화하고, 3차원 스캐너 장치에 기인하는 표면 에러를 보정한다. 그리고 전처리 얼굴 필터링과 메이크업 페인팅 방법은 사용자 중심의 감성적인 3차원 얼굴을 재구성하도록 한다. 결과적으로 본 연구에서 개발한 이러한 기술들이 다중 감각 인터페이스 기반의 메이크업 시뮬레이터의 기본 프레임워크가 되어, 차후 메이크업이나 코디네이션 분야 등의 디지털 콘텐츠 산업에서 활용될 수 있음을 확인하였다.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.77-94
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• 2015

Much western philosophical thinking is constrained by ocularcentrism. Hence, multi-sensory experiences hold the most prominent position in contemporary art, and visual tactility, where feelings of touch through sight, become a powerful medium of expression in fashion. This study analyzes visual tactility in Alexander McQueen's design, where design elements are in focus. This investigation aims to bring the concept of visual tactility in fashion, and by doing so, enhance valuable aesthetic possibility. The result of the study is as follows: First, Creative silhouette is something that is constructed by his impeccable cutting and tailoring skills. In fabrics, he often suggests unconventional materials by uncompromising approach to fashion. Color contrasts refer to color sensibility, which reminds of grotesque image. McQueen's aggressive aesthetic awareness results in visual tactility in fashion.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.22-32
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• 2014

Development of digital technology, which is individualizing and differentiating the world, makes time and space facilitate multi-layering in the contemporary society. It gives a large influence on the contemporary architecture that inducing the visual and spatial experience. Also, It generates new images through the skin of architecture, which implies the contingent and fluid characteristics. These phenomenon show that various parameters are working on the architectural skin simultaneously. Such complexity make the structure of open space and diversity that are homogenized and synchronized. Like this, the architectural skin implies 'multiplicity': qualitative difference which is enable to change and create new images. This characteristic generates instant images changing variously and semantics constantly by the function of skin as a filter. Also, the architectural skin integrates or relocates of relationships between the various information and elements appearing in contemporary society in order to escape the customary relationship between internal and external. Furthermore, the inside and outside of the mixture as a collection of sense has been recognized as one image. This image of mixture consists of one unified continuous integration and extend the meaning of a fluid interface not just surface of the building. The skin of the contemporary architecture is very technical, so its meaning and role is expanded as a complex that exchange interaction. This means that the skin itself has functional elements of the integrated multiple skin to assist. Also it can form a multi-layered relationship and act as a wide range of interfaces depending on the perception of the observer. Therefore the multiplicity of the architectural skin indicates the importance as a boundary that generate images of new life through the sensory perception and implicit force. And it shows potential as the intermediary to try to communicate.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.35-44
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• 2016

This study targets flower-viewing sites appearing in "Kyungdojapji" and talks about the seasonal customs and tourist attractions of the later Chosun; Pilundae, Bukdun, Outside of Dongdaemun, Cheonyunjeong and near Seodaemun etc. Through related poetry, paintings and maps, it looks into what scenic elements each attraction was made of and how the elements were felt by visitors. It sub-divided and analyzed scenic features into objective objects, subjective emotions and experienced behaviors. As a result, representative objective objects were flowers and there were also scenes where people enjoyed poem-writing meetings along with drinking-related physical elements such as liquor, liquor glasses, liquor bottles etc. Through drawing out scenes, where users gave meaning to objective objects, it tried to interpret what space meant to them, through which the meaning of flower-viewing attractions is first and foremost a space to enjoy artistic taste. Each space is used as the center of cultural creation such as literary people gathering, viewing flowers, drinking and having poetry-writing meetings. Second, as shown in scenes viewers depicted in each space, visitors were confirmed to enjoy scenes through multi-sensory appreciation. By this, flower-viewing attractions were confirmed to be not just flower-viewing but also venues of sensory experience. This study, which drew out the scenic features of traditional flower-viewing attractions, is expected to be basic material in tracing the flower-viewing enjoyed by our ancestors as a pastime and its spatial meaning and in planning Korea-unique flower-viewing attractions.