• Korean Journal of Culture and Social Issue
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• v.17 no.1
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• pp.51-62
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• 2011

This study focused on the effects of median type on drivers' subjective sense of speed and the changes in this sense by driver age. Participants were 61 drivers: 20 young (aged 20-39 years), 19 middle-aged (40-59 years), and 22 older drivers (60+ years). The participants watched each of two driving scenarios, showing either a guardrail-equipped or a concrete median. The participants were asked to push a button when they perceived speeds of 60 km/h, 80 km/h, or 100 km/h. All drivers perceived higher speeds in the guardrail condition than in the concrete condition. Perceived speeds increased with driver age in both guardrail and concrete conditions. These results mean median type affects drivers' subjective sense of speed even as driver age increases, and that drivers' subjective sense of speed tends to increase with age.

• Korean Journal of Culture and Social Issue
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• v.11 no.2
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• pp.31-46
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• 2005

The purpose of the present study was to investigate the effects of in-vehicle noise types and levels of intensity on drivers' driving speed estimation. Noise generated from the vehicle engine and musical sound sampled from the Korean pop were employed as the types of in-vehicle noise and their levels of intensity were systematically manipulated. In experiment 1 where the effect of the engine noise levels on speed estimation was observed, drivers showed the tendencies of driving faster than the targets speeds under lower noise intensity condition whereas driving slower under higher noise intensity condition. In experiment 2 where both musical sample and the engine noise were provided, drivers' subjective speed estimation was affected by the engine noise as revealed experiment 1, but not by musical sample. When the data from the both experiments were combined and analyzed, an interacting effect of engine noise levels and music sample levels was found: if the intensity of music sample was enough to overwhelm the engine noise, the drivers drove faster than lower engine noise level condition in the experiment 1. This result indicates that although the music sample is not the direct auditory cue of speed estimation as observed in the experiment 2, intense level of music sample can affect drivers' speed estimation when it is coupled with the lower engine noise level.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2003.05a
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• pp.123-127
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• 2003

본 실험은 자동차 시뮬레이터의 속도 변화(40, 70, 100km/h)와 롤러코스터 시뮬레이터의 운동성 구현 방법(washout 필터 적용, washout 필터 비적용) 에 따른 인간 감성을 탑승자의 주관적 평가를 통하여 비교 평가하였다. 자동차 시뮬레이터, 롤러코스터 시뮬레이터 실험은 각각 건강한 20대 남자 12명, 8명을 대상으로 simulator sickness, 쾌적감, 긴장감, 각성감, 속도감에 대한 주관적 평가를 실시하였다. 결과, 자동차 시뮬레이터에서의 저속주행보다 운동형태가 다양한 롤러코스터 시뮬레이터 주행시 쾌적감, 긴장감, 각성감, 속도감이 유의하게 높았다. 즉 자동차 시뮬레이터에서는 주행시 주행속도가 증가함에 따라 운전자의 감성의 정도는 상승하였고 시뮬레이터간 비교에서는 자동차 시뮬레이터의 저속 주행에 비해 롤러코스터 시뮬레이터 주행시 감성변화는 더 컸다. 이상에서 시뮬레이터 구현 방법에서 속도 요소와 다양한 운동성 요소가 탑승자의 감성에 영향을 주는 것으로 나타났다.

• Proceedings of the ESK Conference
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• 1997.04a
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• pp.176-182
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• 1997

본 연구는 고객 지향적 통시서비스 품질기준 정립을 위한 기초연구 과제로서 크게 통신 고객의 감 성파악 및 감성실험 부분으로 이루어졌다. 우선, 전형적 감성공학적 접근법에 의해 화상회의 시스템 을 사용할 때 느낄 수 있는 206개의 감성어휘가 추출되었으며 이를 어의적 기준과 상대적인 중요도를 기준으로 하여 10개의 주요 감성으로 정리하였다. 사용자의 불만사항 등으로부터 감성실험을 위한 설계변수를 추출하였으며 실험환경 구축을 위한 simulator가 구성되었다. 실험은 음성지연, 음성에코, 화면의 초당 프레임수 그리고 통화주제를 인자로 하는 2$^{4}$요인배치법에 의해 실시되었으며 16명의 피실험자와 Magnitude Estimation방법을 이용하여 파악된 각 감성이 주관적으로 평가되었다. 분산분석 결과, 음성지연은 모든 주요 감성들에 유의한 영향을 미쳤으며, 화상프레임 수는 거리감과 안정성을 제외한 모든 사용자 감성에 주인자로 작용하였다. 또한 요인분석을 실시한 결과 동적인 요인과 정적인 요인으로 전체 감성을 구분지을 수 있었으며 속도감과 깨끗함이 각각을 대표하는 감성으로 나타났다. 주관적이고 복합적인 통신 사용자의 여러 감성을 단일 품질 평가지수로 나타내어 통신소비자의 시스템 선호도 평가에 사용할 수 있는 방법이 제안되었다.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.11a
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• pp.177-181
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• 2002

본 연구에서는 동적환경 감성 시험평가 시스템(driving simulator)을 이용하여 다양한 운전속도(40, 70, 100km/h)에서 주행시 운전자의 감성평가를 실시하였다. 그 결과, 주행속도가 증가할수록 쾌활성, 쾌적감, 긴장감, 각성감, 속도감이 높게 나타났고, 심박수는 증가하였다. 안정시에 비하여 주행시에 뇌파의 알파파는 감소하고 베타파는 증가하였으며 호흡수가 증가하였으나, 조건간의 유의차는 나타나지 않았다. 또한 70km/h이상에서 GSR의 증가와 SKT의 감소가 인정되었으며, 70km/h이하에서 눈깜박임율이 증가하였다. 이상의 결과로부터, 운전자는 속도가 증가할수록 주관적으로 긍정적인 감성을 느끼지만, 70km/h이상에서 자율신경계 반응에 차이가 있음을 알 수 있었다. 또한 이러한 결과는 실제차량 및 시뮬레이터에서 수행한 선행연구의 결과와 대체로 일치하여 본 시스템으로 운전자 감성평가가 충분히 수행될 수 있음을 시사하였다.

• Science of Emotion and Sensibility
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• v.6 no.3
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• pp.13-20
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• 2003

In an experimental study, we assessed human sensibility in terms of psychophysiological response according to change of speeds (40, 70, 100km/h) in a driving simulator and application of motion fitters (washout filter, non-washout later) in a roller coaster simulator. For the driving and roller coaster simulators, a group of 12 healthy men in their twenties and a group of 8 healthy men in their twenties, respectively, participated. Participants each completed a simulator sickness questionnaire (SSQ), a subjective assessment of sensations of pleasantness, tension, and arousal, and perception of speed. Physiological signals were measured by 1/f fluctuation of EEG (electroencephalogram), ECG (electrocardiogram), and GSR (galvanic skin response). These were measured pre-to-post under the experimental conditions for each simulator. Subjective pleasantness, tension, arousal, and perception of speed and physiological responses indicating a feeling of pleasantness by 1/f fluctuation were higher for the roller coaster simulator than those measured for low speed driving in the driving simulator. The mean frequency of alpha band (8-l3㎐) in EEG increased with exposure to the driving simulator relative to that for the roller coaster simulator. Heart rate variability and GSR were significantly changed between pre- and post- under each condition in the driving and roller coaster simulators. The data suggest that subjective sensibility was elevated according to gain of speed and variety of simulator motion, and physiological responses were activated with increased speed.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.399-413
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• 2018

The purpose of this study is to find out the significance and functions of the voice-over narration in the storytelling of the web-drama OH Ku-sil. As a result, the first person narration has enhanced the intimacy with a viewer via subjective statements and produced the two time zone effect that the image and the voice-over stood on different tenses. On the other hand, the third person narration has expanded its functions beyond those of the cinema and TV drama. First, the third person narration in OH Ku-sil has performed the essential role presenting significant information for the viewer's understanding story. Second, the objective/authoritative statements of the third person narration have changed to the subjective/suggestive statements. Third, the third person narrator has expanded his/her role from a narrator to a virtual character by means of the comic statements. It seems to be the existing narration's effective response to the web-drama's medium characteristics seeking efficient storytelling under the tight time restriction. Delivering speedily the story information and amusement, this evolutionary voice-over narration is changing its status from the staying off subject to the condition of the new medium called web-drama.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.115-124
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• 2023

This study explores the intersection of literary studies and artificial intelligence (AI), focusing on the common theme of human emotions to foster complementary advancements in both fields. By adopting a comparative perspective, the paper investigates emotion as a shared focal point, analyzing various emotion-related concepts from both literary and AI perspectives. Despite the scarcity of research on the fusion of AI and literary studies, this study pioneers an interdisciplinary approach within the humanities, anticipating future developments in AI. It proposes that literary sensibility can contribute to AI by formalizing subjective literary emotions, thereby enhancing AI's understanding of complex human emotions. This paper's methodology involves the terminology-centered extraction of emotions, aiming to blend subjective imagination with objective technology. This fusion is expected to not only deepen AI's comprehension of human complexities but also broaden literary research by rapidly analyzing diverse human data. The study emphasizes the need for a collaborative dialogue between literature and engineering, recognizing each field's limitations while pursuing a convergent enhancement that transcends these boundaries.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.