• Proceedings of the Korea Multimedia Society Conference
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• 2000.11a
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• pp.447-450
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• 2000

컴퓨터 그래픽 기술의 발전에 따라 영화, 가상현실, 게임 등의 분야에서 캐릭터 애니메이션에 대한 연구가 활발히 이루어지고 있다 기존의 캐릭터 애니메이션 기술에서는 애니메이터가 직접 움직임을 정의하였지만, 최근에는 사용자의 환경이나 실세계 환경에 상호작용 하면서 지능적으로 동작할 수 있는 감성 캐릭터 애니메이션이 요구되고 있다. 본 논문은 사용자와 상호작용하는 과정에서 사용자의 감정상태를 파악하고, 이에 대응하는 적절한 행동을 할 수 있는 캐릭터의 생성에 대한 연구이다. 본 논문에서는 캐릭터에 감성을 부여하기 위하여 OCC모델을 바탕으로 하여 시스템을 설계하였다

• Proceedings of the Korean Information Science Society Conference
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• 2002.10d
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• pp.322-324
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• 2002

이동 통신 기술의 발달 및 대중화로 인하여 거의 모든 개인 사용자가 휴대폰을 사용하게 되었으며 휴대폰은 초기의 음성통화 기능 뿐만 아니라 VM(Virtual Machine)을 탑재하여 컴퓨터와 마찬가지로 프로그램을 작성 및 설치하여 사용할 수 있게 되었다. 본 논문은 휴대폰과 같은 특수한 임베디드 환경에서 감정 기반의 캐릭터 에이전트를 구현하기 위한 구조를 제안한다. 임베디드 기기의 특수성을 파악하고 주어진 제한사항을 극복하기 위해 기존의 단일 컴퓨터 상의 에이전트 아키텍처를 휴대폰과 서버의 역할을 분담하는 아키텍처로 변환하여 사용자로 하여금 컴퓨터와 근접한 수준의 캐릭터 에이전트를 이용할 수 있도록 한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2001.10a
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• pp.229-232
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• 2001

최근 컴퓨터를 이용하여 사용자와 상호작용 하는 과정에서 사용자의 정서 상태를 파악하고, 이에 대응하여 적절한 행동을 할 수 있는 감성 캐릭터 생성에 대한 연구가 요구되고 있다. 특히 캐릭터 애니메이션에 있어서도 애니메이터의 수작업이나 외부 장비를 이용하지 않고, 캐릭터의 감성 상태에 따라 애니메이션을 자동으로 생성할 수 있다. 본 논문은 이러한 감성 시스템을 설계하고 캐릭터의 감성에 따라 애니메이션 하는 방법을 제안한다. 본 연구에서는 캐릭터에 감성을 부여하기 위하여 Ortony의 인지적 정서 모델을 바탕으로 하여 새로운 감성 모델을 제안하였고 이를 바탕으로 물고기 캐릭터에 적용하여 시스템을 구현하였다.

• Proceedings of the Korean Information Science Society Conference
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• 2000.10b
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• pp.293-295
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• 2000

그래픽스 기술의 발전에 따라 캐릭터 애니메이션에 대한 연구가 활발히 이루어지고 있다. 이에 사용자의 환경이나 실세계 환경에 상호작용 하면서 지능적으로 동작하는 캐릭터 애니메이션이 요구되고 있다. 본 논문은 사용자와 상호작용 하는 과정에서 사용자의 감정상태를 파악하고, 이에 대응하는 적절한 행동을 할 수 있는 캐릭터의 생성에 대한 연구이다. 본 논문에서는 캐릭터에 대하여 자동적(autonomous)이고 상호적인(interactive) 애니메이션을 전제로 하는 감성 캐릭터 애니메이션 시스템을 설계한다. 특히 캐릭터에 감성을 부여하기 위하여 OCC모델을 바탕으로 하여 시스템을 설계하였다.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Korean Journal of Childcare and Education
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• v.10 no.3
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• pp.85-102
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• 2014

The purpose of this study is to investigate the effect of toddler's emotionality and mother's reaction to their child's negative emotions of social-emotional behaviors of toddlers. The subjects were 141 mothers and toddlers ranging in age from 18 to 36 months. Instruments used in this study were: 1) Early Childhood Behavior Questionnaire(ECBQ)(Rothbart, 1994), 2) Coping with Toddlers' Negative Emotions Scale(CTNES)(Eisenberg et al., 1996), and 3)Brief Infant Toddler Social and Emotional Assesment(BITSEA)(Carter et al., 2006). Data were analyzed using Pearson's correlation and hierarchical multiple regression analysis. The results of this study show that toddler's emotionality and the mother's negative reaction to their child's negative emotions were related to the social-emotional behaviors of toddler. Also, mother's reaction to their child's negative emotions have mediation effects between toddler's emotionality and social-emotional behaviors. Specifically, toddler's emotionality has a partial mediating effect on social-emotional behaviors through mother's supportive reaction to their child's negative emotions. Additionally it was also determined that the toddler's emotionality has a complete mediating effect on the relationship between mother's unsupportive reaction to their child's negative emotions and the social-emotional behaviors of toddler. Theses results support the notion that mother's character as well as child's personality at birth are critical predictors which could impact social-emotional behaviors of toddler.

• Journal of Oriental Neuropsychiatry
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• v.5 no.1
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• pp.9-15
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• 1994

Hwabyung is a culture-related disease generally know among people in Korea, and various studies have been done by the Psychiatrists and by the Oriental Medical Doctors. While the Psychiatrists explain the Hwabyung as a disease having a unique patholoical process, the Oriental Medical Doctors explain it as a symptoms having the character of fire. When interpreted in Oriental Medical point of view, this can be concluded as 1)the cause of the disease is the depression of liver-energy(肝氣鬱結) induced by emotional suppression, 2)the reason why the disease occurs mostly to female is that they usually fail overcoming stresses and have physical and visceral weaknesses, 3)the symptoms are associated with the dynamics of fire, because the disease originates from the rising character of fire and from the inadequit supression of extreme heart-fire(心火) by the kidney-wter(腎水), 4)the reason why the disease goes through chronic process is because of the complexed emotions, converted fire caused by prolonged emotional disorder and inapropreate supression of fire with grow older. This results suggest thst the cooperative study of the clinical examination of the Psychiatrsis and the study on the fire by the Oriental Medical Doctors is necessary to establish the process of the disease, the pathological procedure, the prognosis and the method of treatment.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.1
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• pp.15-31
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• 1996

The purpose of this study was to figure out visual character and preference of roadscape for the main entrance road in Chongju. We took 9.6km which was from the Chongju interchange of Kyungbu expressway to Sangdang park and was thought to have a peculiar characteristics. This main entrance road was seperated into 4 parts according to arranging patterns of roadside trees and buildings. To investigate the visual characters, the sementic differential scale experiment was used. The visual characters, the sementic differential scale experiment was used. The visual preference was examined by analyzing visual volume of 4 factors. The results of the study based on these analyses were as below : 1. Factors that compose the visual characters of roadscape were classified by the emotional factor, the individual factor and the physical factor. These 3 factors showed a64.14% total variance. Among 3 factors the emotional factor which represented psychological reaction was appreciated to be the highest and the physical factor was assessed to be the lowest. 2. 24 items in total 14 adjectives showed the following ranking of mean values in sementic differential experiment : Road I -->RoadIII-->RoadII-->RoadIV. The mean values between Road I and RoadIV showed a significant difference, which can be explained to be a contrast between the natural factor and the artificial factor. 3. The mean value of the visual preference was the highest at Road I and the lowest at Road IV. While Road II and Road III showed 3.51 and 4.71, respectively. 4. The effect of 4 factors on visual preference was analyzed by regression as follows : Visual preference =1.2983+0.0627 + 0.0230+0.0203, R-Square=0.5

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.1-9
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• 2009

In virtual environments, such as computer game and animation, we need to enhance naturalness of crowd simulation. So, we propose a method to generate dynamically moving crowd patterns by applying emotional factors to the individual characters of a crowd in the determination of their behavior. The proposed method mimics human behavior and controls each character in a group to decide its own path according to its individual status. And it is able to generate various moving patterns as a result of letting the individuals go to another group depending upon their conditions. In this paper, some temperament and feeling factors are defined and determination rules for calculating the emotional status are also proposed. Moreover we use a fuzzy theory for accurate representation of the ambiguous expressions such as feeling bad, feeling good and so on. Our experiments show that the suggested method can simulate virtual crowd in more natural and diverse ways.

• Journal of Fashion Business
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• v.19 no.3
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.