• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.28-36
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• 2001

The purpose of this study is to research the influence of soundscape in the preference of landscape. Specifically, standards type of communication are applied to the landscape such as positive scenery and negative scenery. The spatial image was analyzed by the variables of Kaplan\`s information process model. The level of visual preferences was measured by a type of acoustic information and visual information in the landscape, and this data was analyzed by multiple regression. The results of this study can be summarized as follows; The value of landscape preference was maximum value in Type I and minimum value in Type II from all fluent of coherence, mystery, and legibility to, except complexity, and it was not different from preference. These results clearly show the influence of sounds effecting decision of landscape preference. It was different by the type of acoustic information and visual information in landscape. The results of ANOVA among types of acoustic information were differences of mean between positive sound, no sound and negative sound from coherence, mystery, and legibility to, except complexity. These variables may be the major factors which must be considered in planning and designing as the functional basis for quantitative analysis.

• 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.

• Investigative Magnetic Resonance Imaging
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• v.2 no.1
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• pp.50-57
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• 1998

MR acoustic sound or noise due to gradient pulsings has been one of the problems in MRI, both in patient scanning as well as in many areas of psychiatric and neuroscience research, such as brain fMRI. Especially in brain fMRI, sound noise is one of the serious noise sources which obscures the small signals obtainable from the subtle changes occurring in oxygenation status in the cortex and blood capillaries. Therfore, we have studied the effects of acoustic or sound noise arising in fMR imaging of the auditory, motor and visual cortices. The results show that the acoustical noise effects on motor and visual responses are opposite. That is, for the motor activity, it shows an increased total motor activation while for the visual stimulation, corresponding(visual) cortical activity has diminished substantially when the subject is exposed to a loud acoustic sound. Although the current observations are preliminary and require more experimental confirmation, it appears that the observed acoustic-noise effects on brain functions, such as in the motor and visual cortices, are new observations and could have significant consequences in data observation and interpretation in future fMRI studies.

• Korean Journal of Audiology
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• v.24 no.4
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• pp.174-179
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• 2020

Background and Objectives: The integration of auditory-visual speech information improves speech perception; however, if the auditory system input is disrupted due to hearing loss, auditory and visual inputs cannot be fully integrated. Additionally, temporal coincidence of auditory and visual input is a significantly important factor in integrating the input of these two senses. Time delayed acoustic pathway caused by the signal passing through digital signal processing. Therefore, this study aimed to investigate the effects of hearing loss and hearing aid digital delay circuit on sound-induced flash illusion. Subjects and Methods: A total of 13 adults with normal hearing, 13 with mild to moderate hearing loss, and 13 with moderate to severe hearing loss were enrolled in this study. Subsequently, the sound-induced flash illusion test was conducted, and the results were analyzed. Results: The results showed that hearing aid digital delay and hearing loss had no detrimental effect on sound-induced flash illusion. Conclusions: Transmission velocity and neural transduction rate of the auditory inputs decreased in patients with hearing loss. Hence, the integrating auditory and visual sensory cannot be combined completely. Although the transmission rate of the auditory sense input was approximately normal when the hearing aid was prescribed. Thus, it can be concluded that the processing delay in the hearing aid circuit is insufficient to disrupt the integration of auditory and visual information.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.17 no.9
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• pp.813-818
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• 2007

This study aims to know the effect of road traffic noise perception when the visual and aural information is added in a laboratory experiment. ME (magnitude estimation) and SD (semantic differential method) evaluation on the effect of visual and aural effect were carried out by 43 university students. As the result, up to 10 % of psychological reduction effect was shown under the 65 dB(A). As the noise level, it was analyzed that the vision affected about 7 dB(A) and sound affected 5 dB(A). However, if these two are given simultaneously, mainly sound affects to reduce the annoyance of noise and the vision next. Compared with the urban central circumstances, this effect (2 dB(A) under 65 dB(A) noise) was shown smaller than field test.

• International Journal of Contents
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• v.16 no.4
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• pp.68-77
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• 2020

VR (Virtual Reality) contents make the audience perceive virtual space as real through the virtual Z axis which creates a space that could not be created in 2D due to the space between the eyes of the audience. This visual change has led to the need for technological changes to sound and sound sources inserted into VR contents. However, studies to increase immersion in VR contents are still more focused on scientific and visual fields. This is because composing and producing VR sounds require professional views in two areas: sound-based engineering and computer-based interactive sound engineering. Sound-based engineering is difficult to reflect changes in user interaction or time and space by directing the sound effects, script sound, and background music according to the storyboard organized by the director. However, it has the advantage of producing the sound effects, script sound, and background music in one track and not having to go through the coding phase. Computer-based interactive sound engineering, on the other hand, is produced in different files, including the sound effects, script sound, and background music. It can increase immersion by reflecting user interaction or time and space, but it can also suffer from noise cancelling and sound collisions. Therefore in this study, the following methods were devised and utilized to produce sound for VR contents called "A Midsummer Night" so as to take advantage of each sound-making technology. First, the storyboard is analyzed according to the user's interaction. It is to analyze sound effects, script sound, and background music which is required according to user interaction. Second, the sounds are classified and analyzed as 'simultaneous sound' and 'individual sound'. Thirdly, work on interaction coding for sound effects, script sound, and background music that were produced from the simultaneous sound and individual time sound categories is done. Then, the contents are completed by applying the sound to the video. By going through the process, sound quality inhibitors such as noise cancelling can be removed while allowing sound production that fits to user interaction and time and space.

• Archives of design research
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• v.16 no.2
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• pp.15-22
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• 2003

This is a study on the roles in the association of sound as subtext for animation. On this study, it will be helpful to develop sound concepts and to create animations with creativity. For animation without sound can be produced as an artistic purpose, however, most animations are created with sound. It is not means that sound is less important than visual in animations. Sound is also one of significant element to create animations. Sound have many important rolls for subtext such as parts of action, leitmotif, characteristic, time, ethnic, localization in the animations. It will be analyzed two animations such as Shrek (DreamWorks Pictures production/ Director: Andrew Adams) and Monsters Inc. (Walt Disney Pictures/ Director: Peter Doctor).

• Educational Technology International
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• v.13 no.1
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• pp.101-144
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• 2012

Students mostly precede their learning without any direct support of instructor in e-learning and mobile educational environment. Many useful strategies and tools to facilitate self-regulated learning behaviors in e-learning environment have been introduced, yet, the limit has been reached by only suggesting self-regulated strategies with visual information in the most researches. Accordingly, this research is intent to propose the sound design strategies that facilitate learner's self-regulated learning behaviors in mobile learning environment. To achieve the objective of the research, two research questions are presented. First, what are the sound design strategies that facilitate the self -regulated learning behaviors in mobile learning environment?. Second, what are the results of evaluating the developed sound design strategies in terms of facilitating self-regulated learning behaviors?. To solve these research questions, the literature reviews on characteristics of mobile learning, concepts and features of self-regulated learning and sound were done to establish the sound design strategies. Through formative research method targeting instructional designers, sound design strategies were modified and supplemented. The research to validate these was performed and to verify the effect of the derived sound design strategies, the usability test aimed at instructional designer and learners was conducted. The final sound design strategies through this research process were six general design strategies and the sixteen detailed strategies. This research is meaningful because this offers the basic research on sound information design which has been lacking and help upgrade the upper limit of instructional design which mainly focused on visual information in mobile learning environment that shows information in a small screen.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.17 no.4 s.121
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• pp.289-297
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• 2007

SAFRS is the system designed to reproduce the harmonic sound into the space according to the environmental factors. Here the harmonic sound means the sound which judged by the subjective tests, and the methods were suggested in the former studies. In this research, SAFRS was applied into the Square of D University to evaluate and verify the effectiveness of the system and a few evaluations were carried out as follows; 1) sound perception, frequency, volume and harmony with the space, 2) images of the square and acoustic environment and 3) acoustic environment with existing sounds, fountain sound, produced sound by SAFRS, and both of them respectively. The results can be summarized as follows; 1) According to the evaluation on acoustic environment, no relationships were shown between the cognition of sounds produced by SAFRS and the frequency or volume, but inverse proportion was shown between the volume and special harmony. 2) As the result of image evaluation. the relationship between space and sound image was shown proportional only except the evaluation on main road at night time, it means that the sound proposal with the visual contents matching with the sounds would be more effective than the proposal of sound only. 3) Results of evaluation on acoustic environment showed that the cognition effect at night time was shown higher than that of day time when only the acoustic element was given and the effect was increased when the visual elements matches with the acoustic elements if both of them were given. It confirmed the harmony between visual and acoustic elements was very important.