• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• Archives of design research
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• v.18 no.2 s.60
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• pp.143-154
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• 2005

Typography in visual communication design is 'potential form' hidden within a space. Showing rhythm in typography is making 'aesthetic sense' in a graphic which has formative characteristics, the way of expression is very important. When the rhythm is recognized through visual stream, Rhythmic Sense is formed. The research will present a new form of the Visual Rhythmic Sense by analyzing typography works out positively. First of all, I researched works done by Fillippo Marinetti, Robert Massin, Wolfgang Weingart, and David Carson for their vigorous experimentalism in typography in forming visual rhythm. I used S.D. Scale method to analyze characteristics of visual image and VARIMAX for factor analysis reaching types of visual rhythm, which could be classified as following. (1) Synesthesia Rhythmic Sense (R-synesthesia) means that the senses are conveyed through 'visualization of auditory sense' and 'visualization of touch' (2) Simultaneous Rhythmic Sense (R-simultaneity) means that the time and space co-exist in one plane. (3) Connective Rhythmic Sense(R-connection) means that different factors (Within one plane) co-exist interacting with one another and creating a unified impression through such a process. (4) Artist Oriented Rhythmic Sense ($-artist) means that the artist interprets the content subjectively and expresses his/her impression, thereby, attracting a gaze of audience systematically and arbitrarily. (5) Reader Oriented Rhythmic Sense(R-reader) avoids the existing legibility formed through aggressive engagement of the reader.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.235-236
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• 2012

색채의 공감각적 특성에 기초하여 대학생들의 미각에 대한 단색 연상 색채를 조사함으로써 현 시대의 대학생들이 느끼는 미각에 대한 대표적인 공감각적 색채를 찾아내기 위한 기초 연구를 진행하였다. 연상을 활용하여 미각에 대한 색채의 공감각에 대해 기초적인 접근이 가능하도록 하였으며, 연상과의 상호관계를 통해 기본 미각의 대표컬러로써 대학생들이 선택한 단맛은 빨강과 노랑, 핑크와 초컬릿 색, 짠맛은 흰색, 회색, 빨강과 검정 등이 추출되었다.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.484-492
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• 2016

Role of music in an image can be divided into a supplementary function to express narrative of image and an independent function to become the subject of music and to lead the image. To perceive sound through hearing and then, to make it visualized is called visual music. Since the 19th century, image synchronization of music through colored hearing has been continuously attempted by artists in their works. Also in the 20th century, many artists could attempt time-wise concept of movement passing the bounds of three-dimensional expression due to development of cinema. In such a process, artists with strong experimental spirits inferred correlation between sound and image and then, pioneered new genre of visual music. As a result, the times are being changed from those of listening to those of watching, and various works are being produced by experimental attempt of various music and images. This thesis aims to investigate aesthetic characteristics of modern visual music and then, to conduct comparative analysis on how visual music using colors are utilized in diversified fields such as movie, animation, music video and media art.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.524-540
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• 2015

This study develops textile pattern design ideas created through the visualization of music. Methods of auditory and synesthesia were employed to analyze various attributes of popular music genres and appoint language image, shape image, and color image to obtain their interrelationships. This study provides data that can be used to express emotional images on textile print pattern designs. This research used different genres of popular music as stimuli. The language image was extracted and introduced to the overall color scheme; in addition, the color image was verified. The analysis of the color image was executed by applying it with the color set image scale of I.R.I colors. Then, the color image of the target genre of popular music was examined and analyzed through a color tone system. The preference in shape image was realized through visual images based on basic principles of points, lines, and sides composition; subsequently, an analysis of the emotional image of popular music followed. An examination of the emotional images of different popular music genres have led to the discovery that language image, color image, and shape image all share a common emotional image. There was also a realization that similarity and interrelationship exists in language, color, and shape images experienced by listening to popular music.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.5 s.112
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• pp.1-14
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• 2005

This study describes the recognition and the application of materials corresponding to the formative language of landscape design as the formative process of creating connote forms and meanings in a space. The purpose of this study is to propose the significance of materiality not only for conveying the meaning of landscape but also for providing expanded experience through synesthetic perception. The study consists of two parts: (1) The concept of materiality in landscape architecture is studied in three categories, which are divided in chronological order when the recognition of materials was changed. (2) Based on this exploration of the concept of materiality and the ways of expressing it that have developed from landscape arts to landscape architecture, the significance of materiality as the medium of contemporary landscape design is proposed. Breaking from previous technical and engineering approaches to materials and from a vision-centered recognition of materials, this study focuses on aesthetic and semantic aspects of materiality and is based on multidimensional recognition though synesthesia. Materiality has significance not only as the dynamic medium that carries the meaning of landscape by providing connections with the surrounding environmental context, but also as the engagement medium that expands observers' experiences with the environment through synesthesia. The study of materiality as the medium of landscape design would contribute to expanding the scope of the language of landscape design and to expressing the meaning of landscape through materiality being revealed on the basis of converted recognition of materials.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.233-246
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• 2015

Focus on Digital Fashion Image, the conceptual framework for the thesis is established from Virtuality in Digital Art. Formative characteristics and aesthetic characteristics were studied by classifying the Digital Fashion Image applied and expressed by digital media and technology. A detective research method was used for a case study. A literature study for case-by-case data was analyzed with focus on the works expressing fashion that utilized digital media and technology since the 2000s. Through this study, the Digital revolution has created the socio-cultural impact of a Virtual representation to implement technology and fashion culture that finds ways to take advantage of the image shown in a Digital Fashion Media by understanding Virtuality. The results are as follows. First, it was a re-formation of the fashion culture through the experience of virtuality with mental zone parameters between the media 'Mediation Code'. Reflect the reality of the virtual environment as represented by a cultural image of fashion brands and fashion that reset the team relationship and formed a Homo Ludens cultural code. Second, 'Interactive Exchange' acts on the exchange interaction between the method of digital technology, the human and the machine as well as the technical interoperability of network elements and techniques. This exchange is applied to fashion images that express emotion. Forming personalized fashion items and the user interactively storage that expresses the interactive exchange to forward the identity of the emotional fashion by a change in the message delivery system fashion. Third, the emphasis on intuitive artistic expression 'Synesthesia Immersion' induces a sense of immersion and excitement through the fusion of the interconnected. Enhance a visual image in fashion sensory representation and maximize a tactile and visual virtual reality involvement.

• Archives of design research
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• v.14 no.3
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• pp.49-58
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• 2001

The communication designer in the multimedia age should have a consideration that the sound also can be an important expression element to transmit ones thought as well as the visual sense like color, shape and motion. As you already know, someones thought can be better understood when transmitted to others using the visual and auditory senses together than using the visual or auditory sense alone. The meeting of sight and hearing bases on the synesthesia. For example, low sound reminds a person of dark color and high sound usually reminds light color. And a percussion instrument reminds a person a circle and melody reminds a line. The visual and auditory senses In communication of the multimedia age should act as an independent expression element gotten out of the synchronizing that just serves simple sight and related sound at the same time. Interaction between sight and hearing arose a different emotion that cannot be happened just by one element alone. So, the programs of communication design education in this multimedia age should fulfill the requirement that it can develop ones expression ability through the understanding of interaction between sight and hearing. In this study, we suggest the education programs Classified into following categories; audio visual Gestaltung, audio visual moving graphics, audio visual design.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.230-243
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• 2011

In this modern digital era, there are very vigorous arguments about digital and media aesthetics throughout culture and art on the basis of new transferring of recognition about the art-media's characteristics. Therefore, this paper tries to discover the art-media's characteristics and aesthetic value that are included in contemporary digital fashion through studying the fusion between digital and fashion. The purpose of this research is to offer positive and evolutive opportunity of artistic thinking to make the meeting between fashion and media suggest the future generation, adaptation and recognition in the media - developmental environment that will be deeper and more fueling. In the area of research method, this paper takes the method of theoretical research by referring national and foreign literatures and preceding research-papers, and carries out investigation and analysis about digital fashion for the last 10 years. The results of this study; The art-media's characteristics of modern digital fashion are virtuality, immateriality and characteristics of multimedia. The aesthetic values can be classified with four kinds of properties. First is hybridity initiated from multi-media that creates works; the second is infinite reproductivity initiated from the characteristics of the multi media and the digital carrier. Thirdly, there is also interactivity appeared all over the area of production, adaptation and perception caused by non-linearity and immateriality. Finally there is synesthesia that can extend the capability of sense through digital media.