• Science of Emotion and Sensibility
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• v.16 no.2
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• pp.187-194
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• 2013

The final aim of the present study is to build a system of converting a color image into musical elements based on a synesthetic perception, emulating human synesthetic skills, which make it possible to associate a color image with a specific sound. This can be done on the basis of the similarities between physical frequency information of both light and sound. As a first step, an input true color image is converted into hue, saturation, and intensity domains based on a color model conversion theory. In the next step, musical elements including note, octave, loudness, and duration are extracted from each domain of the HSI color model. A fundamental frequency (F0) is then extracted from both hue and intensity histograms. The loudness and duration are extracted from both intensity and saturation histograms, respectively. In experiments, the proposed system on the conversion of a color image into musical elements was implemented using standard C and Microsoft Visual C++(ver. 6.0). Through the proposed system, the extracted musical elements were synthesized to finally generate a sound source in a WAV file format. The simulation results revealed that the musical elements, which were extracted from an input RGB color image, reflected in its output sound signals.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of IKEEE
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• v.22 no.2
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• pp.362-368
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• 2018

This paper has implemented a mutual conversion system that mutually converts between body motion signals and both visual and auditory signals. The present study is based on intentional synesthesia that can be perceived by learning. The Euler's angle was used in body movements as the output of a wearable armband(Myo). As a muscle sense, roll, pitch and yaw signals were used in this study. As visual and auditory signals, MIDI(Musical Instrument Digital Interface) signals and HSI(Hue, Saturation, Intensity) color model were used respectively. The method of mutual conversion between body motion signals and both visual and auditory signals made it easy to infer by applying one-to-one correspondence. Simulation results showed that input motion signals were compared with output simulation ones using ROS(Root Operation System) and Gazebo which is a 3D simulation tool, to enable the mutual conversion between body motion information and both visual and auditory information.

• Journal of the Korea Society of Computer and Information
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• v.13 no.2
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• pp.135-141
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• 2008

In this paper, we propose colored-hear recognition that distinguishing feature of synesthesia for human sensing by shared vision and specific sense of hearing. We perceived what potential influence of human's structured object recognition by visual analysis through the camera, So we've studied how to make blind persons can feel similar vision of real object. First of all, object boundaries are detected in the image data representing a specific scene. Then, four specific features such as object location in the image focus, feeling of average color, distance information of each object, and object area are extracted from picture. Finally, mapping these features to the audition factors. The audition factors are used to recognize vision for blind persons. Proposed colored-hear transformation for recognition can get fast and detail perception, and can be transmit information for sense at the same time. Thus, we were get a food result when applied this concepts to blind person's case of image recognition.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2003.11a
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• pp.1361-1365
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• 2003

본 연구에서는 슈트용 직물의 촉각 자극 시 나타나는 감성 특성을 파악하고, 이를 바탕으로 직물의 스치는 소리가 공감각적 감성변화에 어떠한 영향을 미치는지를 분석하기 위해 물리적 평가 및 주관적 평가를 실시하였다. 피험자 20명을 대상으로 직물의 촉감을 평가하게 한 후, 그 직물의 스치는 소리를 제시하여 감각과 감성을 평가하도록 하였다. 복합자극으로는 직물별 tm치는 소리와 촉감을 동시에 제시하여 때 감성을 평가하였다. 실험결과 촉감에 대한 감성차원으로는 '심미성'과 '개성'의 두 가지 요인이 나타났고, 소리에 대한 감성차원으로는 '심미성'과 '고급감', '개성'의 세 가지 요인이 도출되었다. 심미성을 유발하는 촉각성 요인으로는 'pliable'과 'cool', 개성을 유발하는 촉감성 요인으로 'smooth'와 'cool'로 나타났다. 청각자극에 의한 감성은 'loudness'가 가장 큰 영향을 미쳤다. 촉감자극에 의한 직물 별 소리 자극을 부가하였을 경우 직물 소리의 물리량에 따라 심미성 요인에서 감성의 상승 및 하강 효과를 발견할 수 있었다.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.927-932
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• 2009

There is such a kind of characteristic by using the computer digitization technology's interaction. It not only provides the authoring tool, and also has the user-friendly window. The paper based on this kind of interaction, through the sound and the color exchange of information, as well as each information's digitization, carries on about the scientific dielectric related advance research. This research carries on the analysis to the people to the color and the sound perceptual characteristic first, then makes comparison to the people regarding the color and the music perceptual cognition.. The research is about the research stage of the interactive sound installation creation, which shape is carried on the analysis through the extraction image in color. It is based on the perceptual characteristic,is that the algorithm manufacture reasearch of how to make color sonification. Through capturing the non-stop changing colors by camera,it transforms colors into music. The paper's foundation is the fundamental algorithm manufacture of experimental music composition.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.35-44
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• 2016

This study targets flower-viewing sites appearing in "Kyungdojapji" and talks about the seasonal customs and tourist attractions of the later Chosun; Pilundae, Bukdun, Outside of Dongdaemun, Cheonyunjeong and near Seodaemun etc. Through related poetry, paintings and maps, it looks into what scenic elements each attraction was made of and how the elements were felt by visitors. It sub-divided and analyzed scenic features into objective objects, subjective emotions and experienced behaviors. As a result, representative objective objects were flowers and there were also scenes where people enjoyed poem-writing meetings along with drinking-related physical elements such as liquor, liquor glasses, liquor bottles etc. Through drawing out scenes, where users gave meaning to objective objects, it tried to interpret what space meant to them, through which the meaning of flower-viewing attractions is first and foremost a space to enjoy artistic taste. Each space is used as the center of cultural creation such as literary people gathering, viewing flowers, drinking and having poetry-writing meetings. Second, as shown in scenes viewers depicted in each space, visitors were confirmed to enjoy scenes through multi-sensory appreciation. By this, flower-viewing attractions were confirmed to be not just flower-viewing but also venues of sensory experience. This study, which drew out the scenic features of traditional flower-viewing attractions, is expected to be basic material in tracing the flower-viewing enjoyed by our ancestors as a pastime and its spatial meaning and in planning Korea-unique flower-viewing attractions.