• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.155-167
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• 2019

The aim of this study was to examine the experiences of music therapists in using their voice clinically. The researcher conducted in-depth interviews with seven music therapists who were able to explain their experiences in using voice. Each interview was analyzed using the phenomenological method of Amedeo Giorgi. The data analysis yielded 9 sub-categories and 6 components: "promotion of various feelings due to clinical use of voice", "voice use depending on the therapist's personality", "voice use for therapy", "positive musical experiences with clients in using voice", "difficulty in using voice as a tool for music therapy", and "attempt to change unsatisfactory voice". The result showed that the music therapists had both positive and difficult experiences with their clients in using their voice. Their instances of perceived unsatisfactory voice prompted them to develop themselves personally and professionally. This study is intended to provide a general understanding of voice use by music therapists and offer a solid basis for music therapists to study voice in the future.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.343-350
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• 2019

As an important visual element, color in animated films can not only depicts the reality, but also conveys emotion and meanings, which play an important role in shaping the space of animated films. As one of the most outstanding animated films, Coco uses bold and unique color language to shape the film space. It uses the national color to blend the Mexican culture into the story space making it full of Mexican regional and cultural connotation, uses color contrast to shape the physical space, highlighting the three-dimensional and deep sense of the physical space. And also uses color association to create the psychological space, leading audience into the spiritual world of the film. Based on the analysis of the Coco, we an see that when shape the film space of animation, the film maker should give full play to the characteristics and function of color, and apply different color language to shape different space according to the role of the film space, so as to expand and deepen the connotation and expressiveness of film space.

• Korea Science and Art Forum
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• v.34
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• pp.275-290
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• 2018

The study began with the recognition that the animations movie need objective and reasonable methods to classify conflicts in visual to analyze conflicts centering on narratives. Study the emotions of the hero in conflict. The purpose of the study is to analyze conflict intensity and emotion. The results and contents of the study are as follows. First, we found a Turning Point and suggested a conflict classification model (Conflict 6B Model). Second, Based on the conflict classification model, the conflict based shot DB was extracted. Third, I found strength and emotion in inner and super personal conflicts. Fourth, Experiments and tests of strength and emotion were conducted in internal and super personal conflicts. The results of this study are metadata extracted from the emotional research on conflict. It is expected to be applied to video indexing of conflicts.

• Journal of Advanced Navigation Technology
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• v.25 no.6
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• pp.557-561
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• 2021

A meatadata has become an essential element in order to recommend video content to users. However, it is passively generated by video content providers. In the paper, a method for automatically generating metadata was studied in the existing manual metadata input method. In addition to the method of extracting emotion tags in the previous study, a study was conducted on a method for automatically generating metadata for genre and country of production through movie audio. The genre was extracted from the audio spectrogram using the ResNet34 artificial neural network model, a transfer learning model, and the language of the speaker in the movie was detected through speech recognition. Through this, it was possible to confirm the possibility of automatically generating metadata through artificial intelligence.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.289-298
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• 2024

As digital mobile technology has advanced, vertical videos have emerged as a prominent format in the contemporary media field, presenting a new visual language that challenges traditional horizontal-centric aesthetic norms. This study delves into the visual and structural parallels and distinctions between traditional East Asian Hanging scrolls and contemporary vertical videos by applying traditional spatial composition techniques such as the 'Three Distances', 'One River, Two Banks', 'Intended Blank', and 'Unity of Poetry, Calligraphy, and Painting' to the creation of modern vertical videos. Through this comparative analysis, the research examines how vertical layouts enhance depth and layering of the screen, deepen emotional expression, and offer creators new avenues for expression. By juxtaposing the spatial compositions of traditional East Asian Hanging scrolls with those prevalent in today's digital vertical videos, this study seeks to uncover new visual languages and aesthetic values within the evolving media field.

• Sleep Medicine and Psychophysiology
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• v.10 no.1
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• pp.32-38
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• 2003

Objectives: The purpose of this study is to investigate the effects of stress and personality on sleep patterns, and further, to identify potential correlations between stress and personality characteristics. Methods: A total of 174 healthy college students were subjects for this study. Participants filled out the Daily Stress Inventory before sleep and the Modified Pittsburgh Sleep Quality Index after sleep on three consecutive days. They also filled out the 16 Personality Factor Questionnaire (16-PF), BDI (Beck Depression Inventory) and STAI (State-Trait Anxiety Inventory). Results: Minor stresses highly correlated with subjective sleep quality and symptoms of non-restorative sleep. However, total sleep time, sleep latency, awakening frequency, and frequency of dreams were not explained by stress scores. The O (guilty feeling), C (low ego strength) and Q4 (high anxiety) factors of the 16-PF also highly correlated with symptoms of non-restorative sleep and significantly affected sleep patterns. BDI and STAI scores also correlated with the above personality factors and minor stresses. Conclusion: This study showed that minor stresses impaired the restorative effects of sleep. Personality characteristics such as low ego strength, high levels of anxiety, and feelings of guilt were vulnerable to minor stresses. Minor stress, various personality characteristics, different coping patterns, and emotional response are highly correlated with each other and affect sleep patterns.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of The Korean Association of Information Education
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• v.17 no.2
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• pp.101-113
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• 2013

The rapid spread of smart devices initiated by the launch of iPhone and the development of state-of-the-art communication technology have opened up a new chapter for today's age, accelerating a paradigm shift. It is defined as 'the smart era' that is characterized by a DNA of mobile. The meaning of the term 'smart' depends on in which field it is used and who uses it, but the term is basically based on 'human being,' namely people. Accordingly, people should take the initiative in this smart era, and what only people can do will become more important for that reason. In addition, there will be a drastic progress in today's technology, which is expected to make human life more convenient and to even make it possible to read human sentiment and emotion. Such social changes have affected education as well, and the education sector is making preparations for the introduction of 'smart education,' as there is a consensus that an absolutely new paradigm shift is mandatory. Smart education is not merely to introduce smart devices, ICT technology and SNS in education. New competent people are required in globalization age, and smart education is to attempt a new education to nurture new competent people. In this study, 4C (that were creativity, collaboration, contents and curation) were suggested as the key factors of smart education, and in which direction smart education should be led in our country was discussed.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.204-210
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• 2006

Mobile phone has become one of the most essential thing in modern life. In the past, it was only means of cummunication among people. But now, the function of mobile phone is getting diversified. People listen to music, take pictures and play games with their mobile phone. According to the Research in Jan. 2005, members of Korean 3 mobile cummunication companies were 36 million. And the Research in Jan. 2006 shows that number of 2 million and 16 thousand of members are incresed in a year. (36million to 38million 16 thousands) Mobile game is the most popular fuction among teenagers. People like mobile game becase they can enjoy the mobile game anywhere with easy and simple way. So some companies are even launching dedicated phone for mobile game. And with the unification of platform, people can enjoy various kinds of mobile game now. Most of the mobile character bobies are divided into 2 parts such as 'Head parts' and 'Body parts'. If the body is divided into more than 4 parts, it is difficult to express emotions and actions of the character becase of the small screen of mobile phone. That is why most of the characters have 2 parts - divided body. I stadied how the Design Factor of Mobile Characters such as materials of characters, shape of characters and Frame of accessory's movement are used in the mobile game.

• Journal of the HCI Society of Korea
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• v.1 no.1
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• pp.1-8
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• 2006

We suggest a graphical representation of the tension flow in tonal music using a piecewise parametric curve, which is a function of time illustrating the changing degree of tension in a corresponding chord progression. The tension curve can be edited by using conventional curve editing techniques to reharmonize the original music with reflecting the user's demand to control the tension of music. We introduce three different methods to measure the tension of a chord in terms of a specific key, which can be used to represent the tension of the chord numerically. Then, by interpolating the series of numerical tension values, a tension curve is constructed. In this paper, we show the tension curve editing method can be effectively used in several interesting applications: enhancing or weakening the overall feeling of tension in a whole song, the local control of tension in a specific region of music, the progressive transition of tension flow from source to target chord progressions, and natural connection of two songs with maintaining the smoothness of the tension flow. Our work shows the possibility of controlling the perceptual factor (tension) in music by using numerical methods. Most of the computations used in this paper are not expensive so they can be calculated in real time. We think that an interesting application of our method is an interactive modification of tension in background music according to the user's emotion or current scenario in the interactive environments such as games.