• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.67-76
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• 2010

Recently the trend that human emotions become central is strongly on the rise beyond functions in the area of space. In the present situation, the current study is to examine the characteristics of experiential space of emotions through an approach to space appearing in kinetic art paying attention to the fact that the new spatial expressions and forms of Kineticism lie in introduction of 'movement' as a phenomenon that humans who are main agents of experiences can perceive. For research methods, spatial expressions were proposed according to each characteristic extracting characteristics to create space through 'movement' of Kineticism, and the features of experiential space of emotion were elicited by analyzing sensible elements and perceptual characteristics which stimulate human sensitivity through expressive aspects of 'movement' appearing in the case. As a result, it was found that characteristics appeared including immersion through non-daily stimulation, empathy through visual·perceptual stimulation, syn-aesthetic experiences through stimulation of thinking senses, and perceptual activation through physical movement etc. Namely, the present study has its meanings in seeking another directions and possibilities as emotional space to activate experiencers' diverse perceptions and senses by analyzing the characteristics of experiential emotional space through 'movement' of Kineticism which is one of modern plastic arts.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.31 no.6 s.261
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• pp.686-693
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• 2007

To perceive body movement, the nervous system uses multi-sensory cues such as vision, vestibular signals, and somatosensation. Among the multi-sensory modality, the previous researchers reported that the lower limb somatosensation plays an important role on maintaining postural balance. In this study, we examined the contribution of somatosensory cues to linear motion perception by measuring the detection threshold of the direction of linear motion with and without lower limb somatosensory constraints. Six healthy male volunteers participated in randomly ordered 33 single sinusoidal acceleration trials with the stimulus at 0.25Hz with peak magnitude ranged from 0 to 8mG. After each stimulus, subjects reported their perceived direction of motion by button press. Results showed that the reduced lower limb somatosensation significantly increased perception threshold. Without constraints, mean threshold was $0.82{\pm}0.23mG$, while it was $1.23{\pm}0.35mG$ with reduced lower limb somatosensation. The results suggest that without visual cues, perception of the movement direction strongly depends on the lower limb somatosensory information.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.335-350
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• 2016

Learning the principles of perception belongs to both the psychology and art field. However, people define that an art education is an activity of expression, so an activity of an art appreciation is either downsized or hardly proceeded in an art class. Therefore, the art appreciation educational program that gives a motivation to appreciate the work of art and to minimize a burden towards the activity of an art appreciation is needed. This paper proposes an educational program that includes activities to appreciate the work of art using the principles of perception and to create personal portfolios. Also, we analyze the eye movement of the paintings according to the principles of perception. Finally, proposes the art appreciation education program based on Feldman's critique method. In addition, we illustrate the example of the proposed art appreciation educational program with the analyzed paintings from section III.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.23-30
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• 2008

This thesis aims to analyze the visual perceptual effects drawn by 'axial composition and divergence' and to interpret the architecture of Kahn in respect of 'axial composition and divergence'. Axial composition of the form, the location of the entrance and divergence of internal movement were checked up about 53 works by extracting parti which is basic element of spatial composition. The 3D modeling simulation was performed for the selected 10 works in order to analyze the visual perceptual effect due to divergence of the internal movement. The reaction of the observer's actions and visual perception by 'axial composition and divergence' is presented in the following steps. 1. Divergence of the entrance/a panorama of expanding planes. 2. Divergence of internal movement/The process of perception of visual rotation and central spatial form. 'Perceptive form' created by 'divergence' is the result of diverse and flexible series of processes which must be experienced in person in order to reach the space as a room with a definite domain and center.

• Language and Information
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• v.16 no.2
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• pp.1-15
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• 2012

In accounting for the so-called copy raising (CR) in English, the movement perspective has assumed that the embedded subject of the CR verb's sentential complement is raised to the matrix subject, leaving behind its pronominal copy. This kind of movement-based analysis raises both empirical and analytical issues, when considering variations in the pronominal copy constraint. This paper investigates the actual uses of the construction, using online-available corpora. Based on this corpus search, we classify two different types of copy raising predicates (genuine and perception), and discuss their grammatical properties in detail. We suggest that the simple copying rule couched upon movement operations is not enough to capture great variations in the uses of the construction, and show that interpretive constraints, e.g., perceptual characterization condition, play an important role in licensing the construction.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Journal of the Korean Society for Precision Engineering
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• v.28 no.6
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• pp.678-686
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• 2011

When one sensor cannot provide information by sensory deficit or loss, the sensory information can be provided by substituting other sensors for the defected sensor. This sensory substation might be influence on the deteriorated motion perception that consists of multi-sensory information such as visual, vestibular and somatosensory information. In this study, to investigate whether the additional sensation by sensory substitution could be integrated into the motion perception, we examined the effect of substituted postural sway sensation on the directional perception of body movement. Deteriorated motion perception by the reduced plantar sensation was enhanced under sensory substitution condition that provided the body sway information as the plantar vibratory stimulus. These results imply that the additional sensation might be integrated into and improve the motion perception.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.9-16
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• 1995

The purposed of this study is searching the characteris-tic of 'Movement' expression by the Moving experience in display space. First, the concept of 'Movement' was defined by visitor's moving experiences according to the time pass and to visual perception. Exhibit cases were analygied to fine the relationships the defined 'Movement' experience with display spaces. But, 'Movement' is related moving experience from the entrance to importance of display space, and that is picked out key word in movement expression. Consequently, two category (visual expression, expres-sion method) to regard on the space design in display space was suggested focused on the concept of 'Movement'.

• Journal of muscle and joint health
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• v.15 no.1
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• pp.62-72
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• 2008

Purpose: There has been a need to integrating the self-help program for arthritis with the Tai Chi for arthritis(SHTCA). The purpose of this study was to develop and to examine the effect of SHTCA for arthritis applying the nine movement Tai Chi. Method: This study was designed the pre-post test, quasi-experimental design. A total 47 participants were recruited in W-city in Korea, an experimental group(26) and a control group(21) at pre-test, but after the eight weeks the composition of the groups were changed to 22 experimental group and 15 control group. The experimental group participated in the SHTCA once a week for eight weeks. SHTCA program consisted of understanding of the arthritis, contracting of the promise, exercise for muscle strength and joint flexibility and the nine movements of Tai Chi exercise. The measures used to examine the effect of the SHTCA were shoulder flexibility, back flexibility, grasping power, balance, abdominal obesity rates, perception of health status, and EQ-5D standardized five dimensions, mobility, self-care, usual activities, pain/discomfort, and anxiety/depression. Results: At The completion of the eight weeks of SHTCA applying the nine movement Tai Chi, the experimental group reported a significance in a number of variables compared to those of the control group: the right shoulder flexibility(p=.018), left shoulder flexibility(p=.031), right grasping power(p=.014), left grasping power(p=.024), the perception of health status(p=.005) and abdominal obesity rates(p=.027). Conclusion: This SHTCA applying the nine movement Tai Chi would be helpful on right shoulder flexibility, left shoulder flexibility, right grasping power, left grasping power, abdominal obesity rates and the perception of health status for arthritis patients.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.672-679
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• 2013

Creativity is the thinking ability and the expression of new image by imagination as a problem recognition and way of solution. This study aims to search for the creativity theory of body movement and to analyze the creativity factor. According to the study, the creativity of body movement needs four steps: movement awareness, movement design, movement discovery and movement use. The use of new image through self-perception and self concept brings about a creative improvement in the problem recognition and its resolution function. In conclusion, the creativity of body movement means the infinity of body movement as 'the third energy' and 'the flexibility of flow' by interaction.