• Korean Journal of Cognitive Science
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• v.18 no.4
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• pp.399-415
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• 2007

Many objects are always present in a visual scene. Since the visual system has limited capacity to process multiple stimuli at a time, how to cope with this informational overload is one of the important problems to solve in visual perception. This study investigated the suppressive interactions among multiple stimuli when attention was directed to either one of the stimuli or all of them. The results indicate that suppressive interactions among multiple circles were reduced in V4 when subjects paid attention to one of the four locations, as compared to the unattended condition. However, suppressive interactions were not reduced when they paid attention to all four items as a set, in order to compute their mean size. These results suggest that whereas focused attention serves to later out irrelevant information, distributed attention provides an average representation of multiple stimuli.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• Proceedings of the KSMRM Conference
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• 2001.11a
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• pp.102-102
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• 2001

목적： 이중언어자에 있어서 각각의 언어가 대뇌에 어떻게 표상 되어 있는가에 대한 연구가 활발히 진행되고 있다. 본 연구에서는 한국어/중국어 이중언어화자를 대상으로 사용한 언어와 과제에 따라 활성화된 부위에 차이가 있는지 알아보고자 하였다. 대상 및 방법： 이중언어자(화교) 자원자 8명을 대상으로 하였고, 모두 오른손잡이였다. 한국어와 중국어로 구성된 어휘판단과제(lexical decision task)와 의미판단과제 (semantic decision task)를 이용하여 언어 영역의 활성화를 유도하였다. 어휘판단과제는 화면에 제시되는 두 자극이 모두 단어인지 아닌지 판단하여 신호하도록 하였고(예：원개 · 교화, 토끼, 지욱), 의미판단과제는 화면에 제시되는 두 자극의 의미가 관련 있는지 없는지 판단하여 신호하도록 하였다. (예：가가 ·제제, 아침·저녁). 대조과제는 아랍어(예：equation omitted) 글자의 크기를 판단하여 신호하도록 하였다. 1.5T 초전도 자기공명영상장치에서 EPI BOLD 기법을 이용하여 기능적 영상을 얻었으며 8명에서 얻은 영상을 정상화(normalize)한 후 SPM 프로그램을 이용하여 통계분석을 하였다. p<0.000001을 기준으로 얻어진 활성화 영상에서 각 언어와 과제별로 나타난 활성화 신호의 차이를 육안적으로 분석하였다.

• Science of Emotion and Sensibility
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• v.25 no.3
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• pp.47-62
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• 2022

Previous emotion studies revealed the two core affective dimensions of valence and arousal using affect-eliciting stimuli, such as pictures, music, and videos. Autonomous sensory meridian response (ASMR), a type of stimuli that has emerged recently, produces a sense of psychological stability and calmness. We explored whether ASMR could be represented on the core affect dimensions. In this study, we used three affective types ASMR (negative, neutral, and positive) as stimuli. Auditory ASMR videos were used in Study 1, while auditory and audiovisual ASMR videos were used in Study 2. Participants were asked to rate how they felt about the ten adjectives using five-point Likert scales. Multidimensional scaling (MDS) and classification analyses were performed. The results of the MDS showed that distinctions between auditory and audiovisual ASMR videos were represented well in the valence dimension. Additionally, the results of the classification showed that affective conditions within and across individuals for within- and cross-modalities. Thus, we confirmed that the affective representations for individuals could be predicted and that the affective representations were consistent between individuals. These results suggest that ASMR videos, including other affect-eliciting videos, were also located in the core affect dimension space, supporting the core affect theory (Russell, 1980).

• The Journal of Korean Institute of Communications and Information Sciences
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• v.12 no.2
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• pp.176-188
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• 1987

This paper presents a method for Digital Image Motion Restoration by inverse filtering. In order to onstruct optimal Restoration filter, We exactly have to model the degradation process, and therefrom, derive the inverse filter which has inverse charateristics of the degradation model. An Image taken from object which moves fast, is o suffer blurring. it can be modeled by integration process mathematically and analyzed to convolve a rectangular window over an image. in this paper, We analyzed it in the frequency domain, and studied a method for motion restoration using inverse filter has a directional Sinc property.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.89-96
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• 2022

This study examines the strategy of delivering the drama's poet Kim Soo-young and his literary works to the public through the drama (2004). This drama shows Kim's inner self and his literary view by inserting poems into scenes where the poet suffers internal conflict, while presenting relatively less well-known poems to broaden the public's understanding of poetry. In addition, the drama maintains viewers' interest by properly placing elements of conflict, and effectively shows how the conflict affected his life and the world of time. Therefore, the drama is a meaningful text that embodies a poet named Kim Soo-young in three dimensions along with the historical transformation and social problems of the time and the literary chapter of the time through the video.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2002.05a
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• pp.231-235
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• 2002

본 논문에서는 전문 안무가와 일반인들을 대상으로, 현대적 스타일의 독무와 임의적으로 움직이는 육면체를 제시할 때의 두뇌 활동 양상을 fMRI를 통하여 알아보았다. 피험자들은 총 8명으로 구성되었으며, 4명은 안무 전문가들, 4명은 동일한 연령대의 일반인들이었다. 피험자들은 시각 자극으로 제시되는 춤동작과 다양하게 변화하는 단순한 육면체의 움직임을 아무런 반응 없이 보는 과제를 수행하였다. 두 피험자 그룹 모두에서 육면체의 움직임보다 무용을 응시할 때 occipital cortex에서 더 큰 활성화를 보였고, 특히 좌측 STS와 angular gyrus사이의 경계선 영역, 그리고 좌측 fusiform gyrus에서는 안무가들이 무용을 볼 때 일반인들보다 더 높은 활성화를 나타내었다. STS/angular gyrus와 fusiform gyrus가 시각 자극의 의미 표상을 이해하는데 관련이 있고, angular gyrus가 사전적 의미 해석에 있어 중계적 역할을 하는 곳이며, fusiform gyrus는 사물을 지각하는데 있어서 보조 역할을 맡고 있다는 논의를 바탕으로, 무용가들은 그들이 지니고 있는 안무에 대한 전문적인 소견과 지식을 이용하여 몸의 움직임을 분석할 수 있고, 또 그것에서부터 어떠한 상징적인 의미까지 끌어내어 결과적으로 의미 추출의 과정에서 두뇌의 semantic network를 활성화시킨다고 볼 수 있다.

• Journal of the Korean Chemical Society
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• v.54 no.4
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• pp.465-470
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• 2010

Using interesting video clips corresponding to lesson subjects for students who favour visual representation is one of the good methods to enhance students' preference for science class. There are many moving picture web sites to get video clips easily via internet and 'YouTube' is very popular and one of the largest reservoir. In this study, every student in the 'Chemistry I' class, which is a class for 11th grade, was requested to search a video clip corresponding to lesson subjects and to make a presentation in the class. After 1st semester, students' response about the class using YouTube was examined by survey. As a result, students preferred and were interested in the class using YouTube than class centered on textbook. And students preferred YouTube clips showing unusual experiments that were related with contents of subject. In addition, experiments and watching their real phenomena were an interesting factor and helpful factor of learning chemistry in YouTube video clips, respectively. However, translation of English used in the video clips seemed to be a difficult part for students.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.496-501
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• 2021

The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.85-92
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• 2019

Yun Dong - ju's poetry and his representations are used in various visual and dramatic media. According to its medium and genre characteristics, Yoon Dong - ju's representations and his poems are selected and changed. It is also the process of reading what the text is trying to convey to the public through a single person. In this study, Yoon Dong - joo's poetry was compared with other poetry of poetry. Particularly, the discussion was focused on the creative actor . If the creative drama is transmitting the feelings of Yoon Dong-ju through the city, the film conveys the poem of Yoon Dong-ju. Gamuplays are more restrictive than the movies because of their genre. As a result, the emotional expressions of the characters are more intense, the progress of the narrative is also dramatic, and the aspect of Yun Dong - ju, a poem illuminated by the movie and the drama, also differs. If the film aims to portray poet Yoon Dong-ju as a genuine literary youth, the creative poet reinterprets Yun's poetry as having a meaning of resistance.