• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.603-614
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• 2020

Analyzing various works of Nam June Paik who pioneered the world of video art, we can find a number of audiovisual art pieces - in a broad sense - with the characteristics of "intermedia" that are not clearly identified as one genre. Especially, his career as a musician becomes an important clue for us to discuss the unique originality found in Paik's works. Nevertheless, examples of research that specifically explore how Paik's musicality is reflected in his artistry and could be deeply understood is still rare. This article examines Paik's audiovisual art world, and reviews how his musicality is expressed through the characteristics of media and form, as well as contributed to the ultimate technical and aesthetic realizations of his pieces from the perspective of musical synesthesia. The fact that Paik expanded the concept of music through technology, and fused different media to visualize music, is an important achievement in the context of aesthetic, synesthetic music in the field of audiovisual art.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.615-624
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• 2020

By enabling musicians to freely control the elements involved in sound production and tone generation with a variety of timbre, synthesizers have revolutionized and permanently changed music since the 1960s. Paik-Abe Video Synthesizer, a masterpiece of video art maestro Nam June Paik, is a prominent example of re-interpretation of this new musical instrument in the realm of video and audio. This article examines Paik-Abe Video Synthesizer as an innovative instrument to play videos from the perspective of audiovisual art, and establishes its aesthetic value and significance through both artistic and technical analysis. The instrument, which embodied the concept of image sampling and real-time interactive video as an image-based multi-channel music production tool, contributed to establishing a new relationship between sound and image within the realm of audiovisual art. The fact that his video synthesizer not only adds image to sound, but also presents a complete fusion of image and sound as an image instrument with musical characteristics, becomes highly meaningful in this age of synesthesia.

• Science of Emotion and Sensibility
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• v.16 no.2
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• pp.187-194
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• 2013

The final aim of the present study is to build a system of converting a color image into musical elements based on a synesthetic perception, emulating human synesthetic skills, which make it possible to associate a color image with a specific sound. This can be done on the basis of the similarities between physical frequency information of both light and sound. As a first step, an input true color image is converted into hue, saturation, and intensity domains based on a color model conversion theory. In the next step, musical elements including note, octave, loudness, and duration are extracted from each domain of the HSI color model. A fundamental frequency (F0) is then extracted from both hue and intensity histograms. The loudness and duration are extracted from both intensity and saturation histograms, respectively. In experiments, the proposed system on the conversion of a color image into musical elements was implemented using standard C and Microsoft Visual C++(ver. 6.0). Through the proposed system, the extracted musical elements were synthesized to finally generate a sound source in a WAV file format. The simulation results revealed that the musical elements, which were extracted from an input RGB color image, reflected in its output sound signals.

• Journal of Korea Multimedia Society
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• v.23 no.6
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• pp.765-771
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• 2020

To enable AI(artificial intelligence) to realize visual emotions, it attempts to create music centered on color, an element that causes emotions in paintings. Traditional image-based music production studies have a limitation in playing notes that are unrelated to the picture because of the absence of musical elements. In this paper, we propose a new algorithm to set the group of music through the average color of the picture, and to produce music after adding diatonic code progression and deleting sound using median value. And the results obtained through the proposed algorithm were analyzed.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.8-17
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• 2015

This paper presents a sound into color signal conversion using a colored-hearing synesthesia. The aim of the present paper is to implement a real-time conversion system which focuses on both hearing and sight which account for a great part of bodily senses. The proposed method of the real-time conversion of color into sound, in this paper, was simple and intuitive where scale, octave and velocity were extracted from MIDI input signals, which were converted into hue, intensity and saturation, respectively, as basic elements of HSI color model. In experiments, we implemented both the hardware system for delivering MIDI signals to PC and the VC++ based software system for monitoring both input and output signals, so we made certain that the conversion was correctly performed by the proposed method.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.427-434
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• 2016

This paper focuses on a real-time hardware processing by implementing the ARM Cortex-M4 based embedded system, using a conversion algorithm from a muscular sense to both visual and auditory elements, which recognizes rotations of a human body, directional changes and motion amounts out of human senses. As an input method of muscular sense, AHRS(Attitude Heading Reference System) was used to acquire roll, pitch and yaw values in real time. These three input values were converted into three elements of HSI color model such as intensity, hue and saturation, respectively. Final color signals were acquired by converting HSI into RGB color model. In addition, Three input values of muscular sense were converted into three elements of sound such as octave, scale and velocity, which were synthesized to give an output sound using MIDI(Musical Instrument Digital Interface). The analysis results of both output color and sound signals revealed that input signals of muscular sense were correctly converted into both color and sound in real time by the proposed conversion method.

• Journal of IKEEE
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• v.22 no.2
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• pp.362-368
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• 2018

This paper has implemented a mutual conversion system that mutually converts between body motion signals and both visual and auditory signals. The present study is based on intentional synesthesia that can be perceived by learning. The Euler's angle was used in body movements as the output of a wearable armband(Myo). As a muscle sense, roll, pitch and yaw signals were used in this study. As visual and auditory signals, MIDI(Musical Instrument Digital Interface) signals and HSI(Hue, Saturation, Intensity) color model were used respectively. The method of mutual conversion between body motion signals and both visual and auditory signals made it easy to infer by applying one-to-one correspondence. Simulation results showed that input motion signals were compared with output simulation ones using ROS(Root Operation System) and Gazebo which is a 3D simulation tool, to enable the mutual conversion between body motion information and both visual and auditory information.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• International Journal of Fuzzy Logic and Intelligent Systems
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• v.12 no.2
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• pp.101-107
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• 2012

This study describes a proposed method of converting an input sound signal into a color image by emulating human synesthetic skills which make it possible to associate an sound source with a specific color image. As a first step of sound-to-image conversion, features such as fundamental frequency(F0) and energy are extracted from an input sound source. Then, a musical scale and an octave can be calculated from F0 signals, so that scale, energy and octave can be converted into three elements of HSI model such hue, saturation and intensity, respectively. Finally, a color image with the BMP file format is created as an output of the process of the HSI-to-RGB conversion. We built a basic system on the basis of the proposed method using a standard C-programming. The simulation results revealed that output color images with the BMP file format created from input sound sources have diverse hues corresponding to the change of the F0 signals, where the hue elements have different intensities depending on octaves with the minimum frequency of 20Hz. Furthermore, output images also have various levels of chroma(or saturation) which is directly converted from the energy.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.175-187
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• 2020

The purpose of this study is to discuss the elements and meanings of the performative scenography which has been revealed through the new directorial interpretation and deconstruction process of the musical 『All Shook Up』. The performative scenography characteristics after postmodernism aim to create individual active perceptions and various social meanings through audience's voluntary and particular emergence. To this end, the theoretical foundation of scenography was examined by periods in advance. Based on this, I attempted to establish performative scenography for synthesized scenic and media design through the reconstruction process for the 『All Shook Up Travelers』. As a result, I set up visual narrative based world of 『All Shook Up Travelers』 which was produced by text-based intense images for a direct medium in order to expand actors' inner narrative and established unique performative scenography of its own: 1. enhancing the adapted one's narratives for the actors' and audience's co-existence and detachment, 2. delivering its own independent meanings which have double meanings, 3. encouraging audience's critical and active perception experiences through collage and montage of media.