• Science of Emotion and Sensibility
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• v.21 no.4
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• pp.43-54
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• 2018

The aim of this study is to determine the effect of motion sickness on pupil rhythm. Sixteen volunteers of both genders (8 male, 8 female, mean age $25.67{\pm}2.43$ years) experienced VR contents in both 2D and HMD versions for 15 minutes, and their pupillary rhythms were compared. The irregular pattern of the pupillary rhythms, as demonstrated by increasing mean pupil diameter (mPD) and standard deviation of the pupil diameter (sPD), revealed motion sickness after experiencing HMD condition. The pupillary response is strongly related to the cognitive load, and the motion sickness can be interpreted as a change in the cognitive load caused by the increasing volume of visual information that must be processed and the conflict or inconsistency between different sensory modalities. The method proposed in this study could be a non-contact measurement method for the monitoring of motion sickness using a web-camera rather than previous sensor-based methods.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.18-32
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• 2005

The purpose of this study is to find out the origin of perpetuity in the fashion design of Soma Delaunay, who was recognized as a unique designer in the 20th century. Her characteristics of fashion design appeared as dynamism in the incline of op-art using geometric pattern designed on the basis of abstract painting, color contrast between strong original colors, and repeated geometric patterns. The modern image can be explained as modernity in modern fashion and is continued in these days. The origins of modernity analyzed as follows. First, Soma Delaunay developed textile design, considering the use of clothing on the basis of scientific idea. Furthermore, she evolved traditional textile design and making process into a practical and rational way through developing new needlework technique. Second, she tried a new style through a straight silhouette in contrast to Art Nouveau style and the test and mixture of different genres. Third, she expressed the simultaneity of Orphism through the parallel structure of various colors. In particular, she used the contrast of strong and clear original colors to express a rhythm of dynamism and give visual interest through color. Finally, Soma Delaunay attempted to approach the public using clothing, furniture, and curtains with the focus on textiles. It may represent her intention to remove a gap between art and life by understanding the public and their life. As examined above, it can be sad that Soma Delaunay's scientific idea with the flow of industrialization, an open attitude not bound by a rule as an artist, an idea of Avant-garde, the comprehension of various colors and the understanding of the public. These factors lie at the bottom of her fashion design.

• The KIPS Transactions:PartD
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• v.19D no.3
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• pp.211-220
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• 2012

Recently K-Pop gained worldwide sensational popularity, no longer limited to the domestic pop music scene. One of the main causes can be that K-Pop mostly are "Hook Song" which has the "hook effect": a certain melody or/and rhythm is repeated up to 70 times in one song so that it hooks the ear of the listener. Also, visual effects by K-Pop dance group are supposed to contribute to gaining the popularity. In this paper, we propose a method which traces the changes of preference for Korean pop music according to the passing of time and investigates the causes using acoustic signal analysis. For this, experiments in acoustic signal analysis are performed on Korean pop music of from popular female singers in 1960s to those as of this date. Experimental results by applying acoustic signal processing techniques show that the periods discrimination is possible based on scientific evidences. Also, quantitative, objective and numerical data based on acoustic signal processing techniques are extracted compared with the pre-existing methods such as subjective and statistical data.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.4
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• pp.2170-2178
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• 2014

In this paper, electroencephalographic (EEG) signal of one among subjects measured biosignal with visual evoked stimuli inducing the concentration was analyzed to detect the changes in the attention status during attention task fulfillment from January to February, 2011. The independent component analysis (ICA) was applied to EEG signals to isolate the attention related innate source signal within the brain and Electroculogram (EOG) artifact from measured EEG signals at the scalp. The consecutive accumulation of short time Fourier transformed (STFT) attention source signal with excluded EOG artifact can enhance the regular depiction of EPOCH graph and spectral color map representing time-varying pattern. The extracted attention indices associated with somatosensory rhythm (SMR: 12-15 Hz), and theta wave (4-7 Hz) increase marginally over time. Throughout experimental observation, the ICA with STFT can be used for the assessment of participants' status of attention.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.108-116
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• 2014

This study is based on the arguments of Sofia Sarah and concept of 'Sequence Narrative' of Nigel Coates, the founder of Nato. Specifically, this study was conducted under the premise that narrative exhibition space will affect the engagement of viewers. As a result of this study, a method of analyzing a science museum's exhibition space was presented using the narrative structure and the following attributes of visuals: sequence of viewing; spatial tension; spatial pace. The findings are as follows. In terms of 'spatial tension', the exhibiton space with the following progression was more likely to provide viewers with in-depth experience: 'raise of tension' - 'change of pace' - detente.' Although the limited sample doesn't lead to verification of the analysis method and conclusion of its significance, the following was clearly revealed: Exhibiton space that utilizes the structure and attributes of a narrative that provides progression and dramatic tension, as if the viewers were watching a film, is more likely to offer in-depth experience than other spaces. In terms of 'phase transition', the following was revealed: Pace variation around the space with the strongest spatial tension could affect the concentration and engagement of viewers. It suggests the following fact: Spatial rhythm and speed variation in the area with the strongest visual emphasis encourage viewers to feel the spatial changes, maintain their concentration, and continue their viewing.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Korean Institute of Interior Design Journal
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• v.19 no.4
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• pp.11-21
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• 2010

The purpose of this study is to examine the design characteristic of the facade of the main adminstration building in university. The main administration building which is a basic of educational facilities has various administration setups, such as the register's office, the student affairs section, the planing department, the general affair's office and so on. This building performs academic, administration, facilities management, and admissions service. Also, the building has an ideological, historical, and symbolic image, having an organic relationships with the other educational facilities. This study choose one hundred seven universities, except universities that does not provide information easily and the second campus which does not have the main administration building, as the subjects of the study. The analysis is derived from the design elements applied to facade design of the main administration building and this is divided into design principles(balance symmetry, contrast, rhythm), the formal composition(geometrical, linear), and the style of architecture(classical architecture and modern architecture). The results of the research are summarized as follows: The design characteristic of the facade of the main adminstration building in university has chronologically changed. First of all, in the 1940's, symmetry emphasized on the center of building, superimposition, division, pediment, and arch were marked. Then, superimposition was prominent in the 1950's and symmetry emphasized on the center of building was shown in the 1960s again. Flat roof was in the 1970's, 1990s and 2000's. Finally, pediment was dominant in the 1980's. The design elements of the main administration building can be samples of chronological styles of architecture. Facade design, with proper design of the past and recent times, includes the meaning that achieve the great purpose of the university by emphasizing visual images.

• The Research Journal of the Costume Culture
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• v.23 no.5
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• pp.737-754
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• 2015

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

• Journal of architectural history
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• v.23 no.6
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• pp.7-20
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• 2014

The purpose of this paper is to study on the architecture and extension project for the Church of St. Lorenzo. This study is composed of a through analysis of the extension elements on the church building and extension type for extension project of the Church of St. Lorenzo. The results of study are as follows: 1. The extension project for the Church of St. Lorenzo was basically consisted of the concept of a horizontal extension plan through both the interior and exterior space of the church building. This project was the plan of concept of additional or affixing extension through existing spaces with necessary spaces to make up for the previous simple space and form as well as functional aspect. 2. The unit spaces of the nave, the aisle, the small chapels bilaterally adorning the aisles, the transept and the chapels around transepts, and the sacristies by the extension project for the Church of St. Lorenzo is composed of regulation, balance and harmony as geometric space composition according to simple proportion system on whole and parts as well as parts and parts, through the definite articulation by each space zoning. 3. The most important innovative aspect different to previous churches in the extension project for the Church of St. Lorenzo is the compositive system of each other symmetrical spaces through long centrical axis of central part, applying the module system for horizontal arrangement. In particular, the use of regular module on repetition and proportion of rhythm from architectural composition system was precisely composed with the alter that consists of visual focus to express more accurate perspective.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.81-96
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• 2019

The study intends to seek the creative ideas that can satisfy the needs of individual consumers by rediscovering the modern meaning and the artistic value of geometric ornaments engraved on the backside of Danyugyung, which is a traditional Korean pattern. In terms of the study method, the symbolic meaning and formative characteristics of Danyugyung were determined, and the form of its pattern and the geometric characteristics were analyzed. Based on this, Photoshop and illustrations were used to apply the shapes of Danyugyung and internal patterns to the textile designs, and the results are as follows. Firstly, it was found that Danyugyung was associated with the bronze mirror, which was used from the Bronze Age to the Early Iron Age, and was the product of artistic activities and an object and acted as a shamanistic and authoritative symbol of the ruling parties, which were responsible for the acts related to the spiritual world. Secondly, it was discovered that forms of Danyugyung were classified into Jomungyung and Semungyung in accordance with Forms of Danyugyung (造飾), and the formative features of the geometric ornaments that were engraved in great detail on the backside could be found in the images which change according to the form of the inner patterns. Thirdly, with regard to the development of the textile designs utilizing the shape and inner patterns of Danyugyung based on the formative features, it was could discover that the simple shape of Danyugyung presented a value which can be applied as a unique design factor delivering a visual rhythm by attempting to create various harmonies overlapping lines engraved on the inner patterns and the shapes of Danyugyung. Based on the above-mentioned outcomes, the possibility was confirmed that Danyugyung can be used as a novel motif and as a standard unit of patterns for textile design. With future studies, I would like to utilize the unique and diverse images as pattern motif for textile design.