• 조형예술학연구
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• 제7권
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• 감성과학
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• 제27권2호
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• pp.3-14
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• 2024

감정적 맥락이 기억에 미치는 영향을 이해하는 것은 인간의 인지 능력을 종합적으로 이해하는데 매우 중요하다. 이전 연구에서는 주로 시각적 자극에 초점을 맞춰 이러한 관계를 탐구했다면, 본 연구는 음성으로 제시되는 감정맥락으로 탐구의 영역을 확장하여 언어적 맥락의 각성도와 정서가가 기억에 미치는 영향을 조사하고 특히 서열 위치 효과를 완화하는지에 주목하였다. 연구 1에서는 단어 목록의 중반부에 제시되는 음성 감정 맥락의 각성도가 단어 음성 기억에 어떤 영향을 주는지 알아보았다. 실험 결과, 각성도가 낮은 맥락에 노출되었을 때 목록 후반부의 기억력이 저하되는 것으로 나타났다. 연구 2에서는 각성도 수준을 통제했을 때 목록의 중반부에 제시되는 음성 감정 맥락의 정서가가 단어 음성 기억에 미치는 영향을 조사했다. 실험 결과, 부정적 맥락은 함께 제시되는 단어의 기억력을 저하시킨다는 사실을 발견했다. 연구 결과는 음성을 통해 제시되는 감정 맥락이 음성 자극의 기억 처리를 촉진하지 못한다는 것을 시사한다. 특히 부정적 정서 맥락은 서열 위치 효과를 강화하는 것으로 나타났다. 즉, 맥락과 기억 자극이 음성으로 동일할 경우 부정적 감정 맥락은 과제 수행에 간섭으로 작용하여 감정 맥락의 기억 향상 효과를 유발하지 못하는 경향을 보인다. 이는 청각적으로 전달되는 감정 맥락이 언어 기억 과정에 미치는 영향을 이해하는데 중요한 통찰을 제공한다.

• 인터넷정보학회논문지
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• 제17권1호
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• pp.23-33
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• 2016

현재의 스마트 조명은 센서를 통해 사용자의 행위와 위치를 판별한 후 현재 상황에 적합한 조명 환경이 서비스되도록 구성되어 있다. 이러한 센서 기반의 상황인식 기술은 현재까지 단일 사용자만을 고려할 뿐 여러 사용자들의 다양한 상황 발생과 충돌을 해석하기 위한 연구는 미흡하다. 기존 연구에서는 상황충돌을 해결하기 위한 방법론으로 퍼지이론 및 ReBa 등의 알고리즘을 사용해 왔다. 이는 사용자들이 위치한 공간을 여러 영역으로 구분한 후 각 구역별로 서비스를 제공함으로써 발생 가능한 상황충돌의 기회를 회피할 뿐 개인 선호도 기반의 상황충돌 해석이 가능한 맞춤형 서비스 유형으로 볼 수 없다. 본 논문에서는 여러 사용자에게 다양한 상황이 동시 발생되어 서비스 충돌에 직면할 때, 상황의 유형에 따라 부여된 우선순위를 기준으로 서비스를 결정하는 우선순위 기반 다중 상황충돌 해석이 가능한 LED 조명제어시스템을 제안한다. 본 연구에서는 주거환경을 'Living Room', 'Bed Room', 'Study Room', 'Kitchen', 'Bath Room'의 5개 구역으로 구분하고 여러 명의 사용자를 대상으로 각 구역 내에서 발생 가능한 상황들을 'exercising', 'doing makeup', 'reading', 'dining', 'entering' 등 총 20가지로 정의한다. 시스템은 온톨로지 기반 모델을 이용하여 사용자의 다양한 상황을 정의하고 규칙기반의 룰 및 추론엔진을 통해 사용자 중심의 조명환경을 서비스한다. 또한 동일 공간 및 동일 시점에 사용자들 간의 다양한 상황충돌 이슈를 해결하기 위해 사용자 집중력이 요구되는 상황을 최우선으로 정하고, 동일한 우선순위를 가진 상황일 경우 시각적 편안함을 차선으로 순위를 부여하여 충돌 발생 시 서비스 선택의 기준으로 활용한다.

• 한국조경학회지
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• 제19권1호
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• pp.31-43
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• 1991

In considering the relationship between natural beauty and the human frame of mind, or the interconnections between the Landscape and the point of view, we are concerned primaily with the external factors. Historically, certain physical features tended to cause shifts in human attitudes toward landscapes; We concentrate on this phenomenon of changeful scenery rather than on what psychological factors caused certain landscapes to be regarded as remarkable or unique. In a similar fashion we must ask ourselves what the basic elements in landscape are and attempt to ascertain their visual and spatial characteristics before we attempt to desingn environments that are fundamentally, physical in character. Futhermore, the experience of meanings, a part of literatual association process, appeared through the intension of nature study looking for the best landscape phenomena out of simple naturelooking. Of course, as the variable degree of landscapes changes, the dualistic relationship between humans and objects shows the different experience of meanings as the time changes even in landscapes which possess variable factors in same season. The study is conducted by defining the nature of recognizing and appreciating the logical structure of the concept "Landscape" after analysis of meaning context appeared in 'Kyung' which is consists of time, space and elements in landscape.

• 한국CDE학회논문집
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• 제13권2호
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• pp.77-88
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• 2008

Nowadays personal users create a variety of multi-media contents and share them with others through various devices over the Internet since the concept of user created content (UCC) has been widely accepted as a new paradigm in today's multi-media market, which has broken the boundary of contents providers and consumers. This paradigm shift has also introduced a new business model that makes it possible for them to create their own multi-media contents for commercial purpose. This paper proposes a tangible virtual studio using augmented reality to author multi-media contents easily and intuitively for personal broadcasting and personal content generation. It provides a set of tangible interfaces and devices such as visual markers, cameras, movable and rotatable arms carrying cameras, and miniaturized set. They can offer an easy-to-use interface in an immersive environment and an easy switching mechanism between tangible environment and virtual environment. This paper also discusses how to remove inconsistency between real objects and virtual objects during the AR-enabled visualization with a context-adaptable tracking method. The context-adaptable tracking method not only adjusts the locations of invisible markers by interpolating the locations of existing reference markers, but also removes a jumping effect of movable virtual objects when their references are changed from one marker to another.

• 복식
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• 제43권
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• pp.41-52
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• 1999

This study is to compare and analyze two types of 'transparency' concept expressed in architecture and garment which has not only been an important theme in the post-modern expression of architeture but been shown in various types of concept. This study examined the characteristics of transparency and through theoretical studies divided them into four types; frankness(purity ambiguity comparison exposure and eroticism) Purity building would use the matrial which is transparent glasses for the expprssion of its purity and clothing would use the transparent matrial for the expression of the natural beauty of human body and the purity of human of itself. Ambiguity is expressed in the outer side of architecture by duplicating transparent materials and by phenomenon of optical illusion and inflection. On the contrary in garment it is shown in the outward formation of underclothing. Comparison in architecture is expressed by the use of void but opaque materials as well as solid but transparent materials. Extinction is expressed with the visual effect of context of the surrounding by the use of opaque glass and reflexive glass. In garment the effect of comparison is expressed by the use of mixing transparent materials and opaque materials. Building would express the inside of itself by the way of its exposure and clothing would also express its frankness through the human body is partly opened or clossed at the same thime that arises from eroticism of the way of the expression of human feelings.

• 미술이론과 현장
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• 제7호
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Archives of Plastic Surgery
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• 제32권3호
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• pp.389-392
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• 2005

A case of visual loss following cranio-maxillofacial trauma is reported. The patient had acute optic nerve injury associated with a fracture of the right zygomaticomaxillary and fronto-naso-ethmoido-orbital bone and epidural hematoma on the right temporal lobe of brain. Bony fragments compressing the optic nerve on lateral side was identified on computed tomography. Decompression of the optic nerve combined with evacuation of epidural hematoma has been performed via transfrontal craniotomy. The patient had complete recovery of visual acuity without any complications. The role of optic nerve decompression in the management of patients with traumatic optic neuropathy is discussed. Surgical indication is controversial and the procedure should be considered only within the context of the specific indication of the individual patient.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.299-306
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• 2013

While artists and architects both recognize the importance of well-designed exhibition spaces, they have rarely shared, through direct and open communication, their thoughts on what constitutes an ideal architectural context for art. Remy Zaugg's text offers a rare and valuable insight on artists' conception of an ideal space for art, and his words and diagrams have directly influenced some of the successful architectural projects for art in the recent past. By analyzing the original content of Zaugg's writings, and highlighting Zaugg's key design elements from three sample projects, all of which mention Zaugg's text as a direct reference, we can compile a list of core design elements for constructing an ideal space for art. Three museums closely incorporated all but two of Zaugg's seven core planning elements, and the remaining two recommendations on the luminous ceiling and gallery distribuition were more subjectively interpreted. These deviant components in turn become unique features to each project, suggesting proper areas of intervention for architects as authors.

• 복식문화연구
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• 제15권4호
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• pp.713-725
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• 2007

This treatise is designed to discover the principle of timeless continuity of Korean design from the perspective of modem accomodation of formative beauty of tractional dress style with the focus on measurement analysis of dress from visual perspective. For this purpose in this research the following subjects are studied with concentration: the 1st phase debate on the dress style appearing in the Kokuryo murals and genre painting during the later period of Chosun Dynasty regarding the formative beauty of dress style. 2nd phase debate on the points of changes and transformations during given age and given principle of Korean designs being maintained across the span of time in the context of madern accomodation of such traditional dress. From historical perspective characteristics of each given age and principles of visual formative principles appear in various ways variety attributable to mutually interactive principles according to historical background and culture. For this reason it can be said that they are determined by different paradigm or forms from characteristics of Korean style design in the present and future and those for traditional forms of dress in the past.