• 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 Korean Society for Emotion and Sensibility Conference
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• 2003.05a
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• pp.1-4
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• 2003

본 연구는 경편성물의 특성에 영향을 미치는 중요한 구조변수인 조직, 편환의 계폐여부, 가이드바의 상호 움직임 방향에 따른 소리특성과 생리적 반응 사이의 관계를 파악함으로써 총합적 감성소재 설계를 위한 기초 자료를 제공하고자 하였다. 직물소리발생장치를 이용하여 7가지의 경편성물에 대한 마찰음을 녹음한 후, 이를 마찰음이 유발하는 생리반응을 측정하여 slow alpha파, fast beta파, ECG R-R, RESP, HF/LF, SCL, PV등을 분석하였다. 조직에 따라서는 LPT, Loundness(Z), Roughness(Z)와 Fluctuation strength(Z) 가장 큰 Sharkskin에서 fast beta파, ECG R-R, RESP는 증가하였으며 slow alpha파, PV, HF/LF는 감소하였다. 편환의 개폐여부에서는 폐환보다는 개환에서 Loudness(Z), Sharpness(Z), Fluctuation strength(Z)가 증가하였으며 RESP는 증가하고 HF/LF는 감소하여 개환이 더 불쾌한 감성을 유발하였다. 가이드바의 상호 움직임 방향은 counter보다는 parallel에서 slow alpha의 변화량이 감소하고 fast beta의 변화량이 증가하여 counter보다는 parallel이 더 불쾌한 감성을 유발하는 것으로 보인다. 또한 편성물의 음향특성 중 ΔL, Δf 와 Roughness(Z), Fluctuation Strength(Z)가 생리반응을 예측하는 중요한 요인으로써 나타났다.

• Science of Emotion and Sensibility
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• v.6 no.1
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• pp.27-32
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• 2003

The objectives of this study the effects of fabric noise from active wear on electrodiagnosis(EMG), to examine the effects on subjective sensation, and to relate the EMG results and the subjective sensation.. Five nylon water repellent taffeta fabrics were rubbed each other and the fabric noise were recorded. EMG was done from 10 female university students and electrodes were attached on each participant's upper arm and lower am. The subjective sensation was measured by FMME(Free Modulus Magnitude Estimation). The EMG values from upper arm showed higher voltage than those from lower arm, and the differences between values with fabric sound and without were larger at upper arm than those at lower am. EMG decreased when fabric sound was evaluated soft and pleasant, however It increased in proportion as fabric sound was evaluated loud and sharp. The predicted models for subjective sensation using physical sound properties and EMG results were well explained except roughness. Pleasantness was well predicted by EMG at upper am and EMG at lower arm, as the result, it was explained that the lower the EMG, the more pleasant the participant.

• Science of Emotion and Sensibility
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• v.5 no.3
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• pp.39-46
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• 2002

The purpose of this study was to examine the effects of sensation and sensibility from the rusting sound of silk fabrics. The mechanical properties and sound parameters were measured after recording the rusting sounds of 7 silk fabrics. Then, their relationships were analyzed through the evaluation of subjective sensation and sensibility and found a regression model for the sensibility from the mechanical properties. The adjectives of the sensibility were grouped into four: Elegant, Active, Tough, Modern. Soft and flexible fabrics were related with LPT negatively and induced elegant sensibility. And fabrics of the smoother and less changable to shear direction were related with LPT and Δf, and positively, and occurred active sensibility. On the other hands, rough, bulky, thick, and heavy fabrics were related with ARC and Δf, and induced with tough or modern sensibilities. About the sensibilities according to each fabric, STN8 was the most elegant, STN8-S was the most active, and TWL16 and STN16-N were the toughest.

• Cartoon and Animation Studies
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• s.35
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• pp.329-346
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• 2014

Art is the product from the combination of politics, economy, and social and cultural aspects. Recent development of digital media has affected on the expansion of visual expression in art. Digital media allow artists to use sound and physical interaction as well as image as an plastic element for making a work of art. Also, digital media help artists create an interactive, synaesthetic and visual perceptive environment by combining viewers' physical interaction with the reconstruction of image, sound, light, and among other plastic elements. This research was focused on the analysis of the relationship between images in art work and the viewer and data visualization using sound from the perspective of visual perception. This research also aimed to develop an interactive art by visualizing physical data with sound generating from outer stimulus or the viewer. Physical data generating from outer sound can be analyzed in various aspects. For example, Sound data can be analyzed and sampled within pitch, volume, frequency, and etc. This researcher implemented a new form of media art through the visual experiment of LED light triggered by sound frequency generating from viewers' voice or outer physical stimulus. Also, this researcher explored the possibility of various visual image expression generating from the viewer's reaction to illusionary characteristics of light(LED), which can be transformed within external physical data in real time. As the result, this researcher used a motif from Piet Mondrian's Broadway Boogie Woogie in order to implement a visual perceptive interactive work reacting with sound. Mondrian tried to approach at the essence of visual object by eliminating unnecessary representation elements and simplifying them in painting and making them into abstraction consisting of color, vertical and horizontal lines. This researcher utilized Modrian's simplified visual composition as a representation metaphor in oder to transform external sound stimulus into the element of light(LED), and implemented an environment inducing viewers' participation, which is a dynamic composition maximizing a synaesthetic expression, differing from Modrian's static composition.

• Science of Emotion and Sensibility
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• v.9 no.2
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• pp.133-140
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• 2006

In order to investigate the sensation of the fabric sound simulating the real wear-condition, the fabric sound simulator using reciprocating friction was developed. Fabric sounds from 5 specimen were generated by the fabric sound simulator and recorded using high performance microphone. Physical sound parameters of fabrics including level pressure of total sound (LPT), level range (${\Delta}L$), and frequency differences (${\Delta}f$) were calculated. For psychological evaluation, seven adjectives for sound (softness, loudness, sharpness, clearness, roughness, highness, and pleasantness) were used as the semantic differential scale. Fabric sounds by reciprocating friction of nylon taffeta and polyester leno had the highest value of LPT and evaluated as loud, sharp, rough, and unpleasant while polyester ultra suede and silk crepe de chine haying the lower LPT and ${\Delta}f$ were perceived as soft and quite. Comparing with fabric sound by one-way friction, fabric sound by reciprocation friction was perceived as more sharp, loud, and rough. LPT was also the most important factor affecting the sensation of the fabric sound by reciprocating friction.

• Science of Emotion and Sensibility
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• v.9 no.1
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• pp.9-17
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• 2006

As is commonly said, music is 'language of emotions.' It is because sound is a plentiful modality to communicate the human sensibility information. However, most researches of auditory displays were focused on improving efficiency on user's performance data such as performance time and accuracy. Recently, many of researchers in auditory displays acknowledge that individual preference and sensible satisfaction may be a more important factor than the performance data. On this ground, in the present study we constructed the sound sensibility dimensions ('Pleasure', 'Complexity', and 'Activity') and systematically examined the attributes of sound on the sensibility dimensions and analyzed the meanings. As a result, sound sensibility dimensions depended on each sound attributes , and some sound attributes interact with one another. Consequently, the results of the present study will provide the useful possibilities of applying the affective influence in the field of auditory displays needing the applications of the sensibility information according to the sound attributes.

• Science of Emotion and Sensibility
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• v.5 no.2
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• pp.23-28
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• 2002

The purpose of this study was to classify apparel fabrics according to rustling rounds and to analyze their transformed colors and mechanical properties. The rustling sounds of apparel fabrics were recorded and then transformed into colors using Mori's color-transforming program. The specimens were clustered into five groups according to sound properties, and each group was named as ‘Silky’,‘Crispy’,‘Paper-like’,‘Worsted’, and ‘Flaxy’, respectively. The Silky consisted of smooth and soft silk fabrics had the lowest value of LPT, $\Delta$f, ARC , loudness(B) and sharpness(z). Their transformed colors showed lots of red portion and color counts. The Crispy with crepe fabrics showed relatively low loudness(z) and sharpness(B), but diverse colors and color counts were appeared. The Paper-like showed the highest value of LPT, $\Delta$f and loudness(z). The Worsted composed of wool and wool-Like fabrics showed high values of LPT, $\Delta$f, loudness(z) and sharpness(B). The transformed rotors of the Paper-like and Worsted showed the blue mostly but color counts were less than the others. The Flaxy with rugged flax fabric had the highest fluctuation strength, and their transformed colors showed diversity.

• Journal of Naturopathy
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• v.11 no.2
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• pp.143-151
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• 2022

Background: The singing bowl is a bowl-shaped percussion instrument and is used in meditation and healing programs, but the mechanism of its clinical effects is unclear. Purpose: In this paper, we reviewed the peculiar acoustic property of the singing bowl sound and discussed on physical mechanisms of the clinical effects of the singing bowl sound. Methods: We studied the literature by reviewing it. Results: There are multiple pitches at adjacent frequencies in the singing bowl sound, and they give rise to the beat phenomenon. This results in a solid persisting beating felt in the singing bowl sound. Furthermore, the beat that depends on singing bowls and playing methods includes a rhythm often similar to the frequency band of brain waves (theta wave) observed in meditative states and induces a synchronization phenomenon in which the rhythm activates the brain waves in meditative states. Furthermore, we are to infer that the clinical effect of the singing bowl sound is closely associated with the synchronization of brain waves to the beat rhythm of the singing bowl sound. Conclusion: To clearly understand the clinical mechanism of the singing bowl sound, we suggest further systematic studies on the psychological and physiological responses to the beats of the singing bowl sound.

• Broadcasting and Media Magazine
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• v.16 no.4
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• pp.31-45
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• 2011

사용자가 원하는 3D 사운드 혹은 소리의 공간감을 원하는 대로 재현할 수 있는 오디오 시스템은 오랜 기간 동안 인류가 가지고 싶었던 꿈의 기계였다. 그러나 과연 개인 혹은 사용자가 원하는 3D 사운드라는 것이 무엇이며 어떻게 정의하여야 하는지는 명확하지 않다. 이것은 매우 주관적인 개념일 뿐만 아니라 개인에 따라 다를 수 있으며, 그 평가에 대한 객관적인 방법 또한 존재하지 않는다. 관련된 연구를 살펴보면, 원하는 소리의 파동 전파 자체를 시공간 상에서 물리적으로 재현하는 WFS(Wave Field Synthesis)나 Ambisonics, 또는 머리전달함수(HRTF: Head Related Transfer Function)를 기반으로 한 많은 연구들이 있다. 이렇게 재현된 음장(sound field)을 보면 이들이 인지되고 평가되는 등의 객관화를 위하여는 청취 환경에 따라 그 특성이 바뀌고 동일한 환경에서도 청취자에 따라 다르게 인지되는 근본적인 문제점을 가지고 있다. 음장 재현 방법의 이러한 근본적인 문제는 놀랍게도 과거의 스테레오 시스템에서 볼 수 있는 밸런스 노브(balance knob)로부터 그 해결의 실마리를 찾을 수 있다. 밸런스 노브는 보편적인 최적의 소리를 찾는 대신에 청취자가 원하는 음향 효과를 얻을 때까지 직접적으로 소리를 청취하고, 스스로 조절하여 평가할 수 있는 매개체의 역할을 수행한다. 만일 밸런스 노브와 같이 청취자가 원하는 3D 사운드를 스스로 평가하고 조절하기 위한 방법을 마련할 수 있다면? 즉, 청취자가 시공간적으로 원하는 3D 사운드를 실시간으로 청취하고 변화시킬 수 있는 인터페이스를 구현할 수 있다면? 과연 그러한 것이 어떻게 가능할 수 있는지 체계적인 검토가 이루어질 수 있다면 매우 좋을 것이다. 본 고는 이러한 것을 가능케 할 수 있는 즉, 청취자가 자유 자재로 원하는 음장을 형성할 수 있는 렌더링 기법 및 즉각적인 피드백이 가능한 인터페이스를 소개하고 있다. 인터페이스는 현재까지 오디오 시스템에서 주로 사용되는 주파수 이퀄라이져(frequency equalizer)와 매우 유사한 특징이 있다. 이러한 점을 감안하여 "Spatial Equalizer$^{(R)}$"라는 이름을 붙여 보았다. Spatial Equalizer$^{(R)}$는 공간 상에 하나의 점 또는 다수의 점으로 표시되는 가상 음원을 사용자가 조종하여 원 소리의 공간감을 제어할 수 있도록 구성되어 있다. 공간 상에 다수의 점 음원들의 위치를 변화시키거나 크기를 변화시킴으로써 청취자가 원하는 공간감을 구현할 수 있도록 하고 있다. 중요한 것은 종전의 이퀄라이져와 같이 Spatial Equalizer$^{(R)}$에 의해 형성되는 음장이 어떤 객관적인 척도에 의해서 평가되는 대신 사용자에 의해 직접 주관적으로 평가되고, 선택된다는 점이다.