• 한국실내디자인학회논문집
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• 제22권5호
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• pp.293-301
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• 2013

The purpose of this study was to find the space perception by the scene and to analyze the characteristics in the exhibition space. The data for the analysis was collected through a questionnaire survey method. The questionnaire is composed of a scene selection on the panoramic photographs of the exhibition space. 'The 4 Rivers Cultural Center - The ARK' was selected as the subject of this survey. The results of the study are presented as follows : First, the space perception perceived imaged scenes rather than the specific elements of space. Second, the space perception was revealed through the 'Form', 'Materials', 'Light', 'Lighting', 'Furniture' and 'Media' of notable elements. Also that was perceived by forming 'Line', 'Surface' and 'Volume'. Particularly, the perception of 'Surface' was higher than 'Line' and 'Volume'. 'Surface' was perceived mostly through the 'Color'. The perception of 'Line' was positive to 'Boundary' or 'Continuous placement of the light'. In addition, the perception of 'Volume' was positive to 'The curve of the form', 'Transparent material', 'Three-dimensional elements'. Finally, The type of space perception was chosen as 'Extension', 'Center', 'Deep', 'Boundary' and 'Formative'. In this way, the results of this study will set a foundation for developing design methods to induce the space perception by the scene in the exhibition space.

• 한국멀티미디어학회논문지
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• 제24권4호
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• pp.601-609
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• 2021

This article combines literature and empirical research based on space perception theory and the case study of mixed reality game "The Fragment." It is concluded that the mixed reality scene under space perception has a three-level visual definition. This definition carries out a corresponding level analysis of the scenes of the "The Fragment" game and draws up the constituent factors of the mixed reality game scene characteristics. Finally, through questionnaire data investigation and analysis, it is verified that the three factors of virtual reality coexistence, human-computer interaction, and local serviceability can better explain the characteristics of mixed reality game scenes. At the end of the study, it is concluded that the definition of three levels of visual hierarchy and the constituent factors of mixed reality game scenes can provide reference and help for other mixed-reality game designs and a brief description of future research plans.

• 대한인간공학회지
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• 제24권2호
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• pp.51-56
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• 2005

Human perceptional speed is different from its real speed. There is lack of research that the perceptional speed is different from real speed in 2-dimension, because most research of speed perception has concentrated on points and lines. This research investigates the effects of object size on speed perception. In this research, we used 2-D circular objects of the different size, 0.9, 1.8 and $3.6^{\circ}$. The objects moved 9.0, 13.5 and $18.0^{\circ}$ with three different speeds, 6.0, 9.0 and $18.0^{\circ}$/s. Six participants were exposed to the environment with standard scene(size: $1.8^{\circ}$, speed: $9.0^{\circ}$/s and travel distance: $13.5^{\circ}$). After the first scene, another scene in which the object had changed to different sizes, speeds and distances, was shown to the participants. A magnitude estimation method was used to construct a scale of the perceived speed level. The relationship between the perceived and the actual speed level was explained by Stevens's power law that the value was 0.978 with the exponent of 0.992. The size of object had an effect on the speed perception but travel distance was not. The perceptional speed of bigger object was lower than of smaller object. It showed that the degrees of perceptional speed decreased as size of object increased.

• 한국콘텐츠학회논문지
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• 제11권8호
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• pp.1-13
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• 2011

가상 세계에서 인간과 유사한 에이전트를 만들기 위해서는 지각, 인식, 판단 그리고 행동에 대한 정교한 설계가 중요하다. 이와 관련하여 자율형 에이전트의 지각 기능과 인식 기능을 개발하고자 한다. 시야 속에서 획득되어진 가장 원시적 데이터인 이미지의 색상차를 이용하여 모양과 영역들을 구별하는 것으로부터 점, 선 색깔들을 기본 단위로 사용하는 지각 메커니즘을 개발한다. 이렇게 지각되어진 모양들을 지능적으로 인식하기 위해서 가려지거나 손실된 모양에서 원래의 모양을 추측하기 위한 추론 알고리즘을 개발하고 객체에 관해 온톨로지로 부터 얻어진 일반적 특성정보를 이용한다. 개별적으로 파악된 이차원 모양들과 다른 모양들과의 공간적 위치관계들이 삼차원 모양들을 이루고 그러한 모양을 가진 해당 객체들은 장면들을 구성하게 된다. 삼차원 모양들은 각 장면에서 자신만의 영역을 차지하며 에이전트는 객체들과 장면들을 분석하여 사물과 현상들을 인식한다. 이러한 장면에 대한 인식기능을 이용하여 에이전트가 시공간 영역속에서 지식을 축적하고 이용하는 방법을 개발하고 예제상황을 통해 구현결과를 보여준다.

• 대한청각학회지
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• 제24권1호
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• pp.1-9
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• 2020

Auditory scene analysis is defined as a listener's ability to segregate a meaningful message from meaningless background noise in a listening environment. To gain better understanding of auditory perception in terms of message integration and segregation ability among concurrent signals, we aimed to systematically review the size of auditory scenes among individuals. A total of seven electronic databases were searched from 2000 to the present with related key terms. Using our inclusion criteria, 4,507 articles were classified according to four sequential steps-identification, screening, eligibility, included. Following study selection, the quality of four included articles was evaluated using the CAMARADES checklist. In general, studies concluded that the size of auditory scene increased as the number of sound sources increased; however, when the number of sources was five or higher, the listener's auditory scene analysis reached its maximum capability. Unfortunately, the score of study quality was not determined to be very high, and the number of articles used to calculate mean effect size and statistical significance was insufficient to draw significant conclusions. We suggest that study design and materials that consider realistic listening environments should be used in further studies to deep understand the nature of auditory scene analysis within various groups.

• Journal of Audiology & Otology
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• 제24권1호
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• pp.1-9
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• 2020

Auditory scene analysis is defined as a listener's ability to segregate a meaningful message from meaningless background noise in a listening environment. To gain better understanding of auditory perception in terms of message integration and segregation ability among concurrent signals, we aimed to systematically review the size of auditory scenes among individuals. A total of seven electronic databases were searched from 2000 to the present with related key terms. Using our inclusion criteria, 4,507 articles were classified according to four sequential steps-identification, screening, eligibility, included. Following study selection, the quality of four included articles was evaluated using the CAMARADES checklist. In general, studies concluded that the size of auditory scene increased as the number of sound sources increased; however, when the number of sources was five or higher, the listener's auditory scene analysis reached its maximum capability. Unfortunately, the score of study quality was not determined to be very high, and the number of articles used to calculate mean effect size and statistical significance was insufficient to draw significant conclusions. We suggest that study design and materials that consider realistic listening environments should be used in further studies to deep understand the nature of auditory scene analysis within various groups.

• 한국심리학회지 : 문화 및 사회문제
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• 제8권1호
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• pp.61-77
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• 2002

본 연구는 교통주체자인 운전자가 교통안전시설 등을 포함한 도로환경의 자극세트에 대해 어떠한 지각차원과 구성개념을 갖고 있는지를 분석하였다. 이를 위해 특정 자극세트와 관련한 개인의 구성개념을 도출하는데 적합한 통계방법 중의 하나인 Q-방법을 이용하여 위험장면에 대한 운전자의 위험지각 정도를 살펴보았다. 분석결과, 운전자의 위험지각차원은 세 가지 유형-교통참여자의존형, 도로환경의존형, 교통상황의존형-으로 분류할 수 있었다. 그리고 일치항목분석을 통해 운전자의 위험지각에 대한 총 열 개의 공유 구성개념을 확인하였다. 이를 토대로 교통사고분석 및 운전자 교육 등을 포함한 교통안전의 측면에서 그 시사점과 제한점을 논의하였다.

• International Journal of Contents
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• 제18권3호
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• pp.11-20
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• 2022

Human Emotion Recognition is an exciting topic that has been attracting many researchers for a lengthy time. In recent years, there has been an increasing interest in exploiting contextual information on emotion recognition. Some previous explorations in psychology show that emotional perception is impacted by facial expressions, as well as contextual information from the scene, such as human activities, interactions, and body poses. Those explorations initialize a trend in computer vision in exploring the critical role of contexts, by considering them as modalities to infer predicted emotion along with facial expressions. However, the contextual information has not been fully exploited. The scene emotion created by the surrounding environment, can shape how people perceive emotion. Besides, additive fusion in multimodal training fashion is not practical, because the contributions of each modality are not equal to the final prediction. The purpose of this paper was to contribute to this growing area of research, by exploring the effectiveness of the emotional scene gist in the input image, to infer the emotional state of the primary target. The emotional scene gist includes emotion, emotional feelings, and actions or events that directly trigger emotional reactions in the input image. We also present an attention-based fusion network, to combine multimodal features based on their impacts on the target emotional state. We demonstrate the effectiveness of the method, through a significant improvement on the EMOTIC dataset.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 1987년도 한국자동제어학술회의논문집; 한국과학기술대학, 충남; 16-17 Oct. 1987
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• pp.96-99
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• 1987

In the way of perception and depth finding of 3-D scene stereo vision is one of the best ways. Matching is important problem of stereo vision. In this paper we develop an algorithm that is adaptable to errors and computation time. And we demonstrate the way of matching.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2008년도 학술대회 1부
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• pp.775-778
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• 2008

증강현실은 가상현실의 한 분야로 실제 환경에 가장 사물을 합성하여 원래의 환경에 존재하는 사물처럼 보이도록 하는 컴퓨터 그래픽 기법이다. 증강현실은 가상의 공간과 사물만을 대상으로 하는 기존의 가상현실과 달리 현실세계 기반위에 가상의 사물을 합성하여 현실세계 만으로는 얻기 어려운 부가적인 정보를 보강해 제공할 수 있는 특징을 가지고 있다. 실세계 기반위에 가상의 사물의 합성을 구현하는데 있어 중요하게 여겨지는 기반 기술인 레지스트레이션 방법이 있다. 레지스트레이션 방법은 실사영상과 3차원 그래픽 객체의 위치와 방향을 결정하는 방법으로서, 모델기반추적과 Move-Matching방법이 사용되고 있다. 본 논문에서는 모델기반추적방법에 대하여 물체 추적을 통한 물체의 정보와 색상 분포를 이용하여 각 장면간의 물체 추적을 통하여 전환되는 장면에서의 모델을 통해 상대적 좌표계를 생성하는 방법에 대하여 연구하였다.