• 한국실내디자인학회논문집
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• 제16권4호
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• pp.89-98
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• 2007

This paper studied the spatial factors activating the personal interaction based on case studies of $M\'{e}diath\'{e}ques$ in France. The spatial factors are analyzed into material factors and dematerial factors. The material factors have physical features in space and directly or indirectly activate the personal interaction. They consist of 8 elements including pocket space, balcony, atrium, stairs, elevators, windows, conference rooms and furnitures. The dematerial factors consist of 6 elements including polycentrism, continuance, mixture, interpenetration, dematerialization, transparency. They are compounded of material factors and explain them conceptually. But dematerial factors are abstract concepts. To provide reliability I confirm the relationship with dematerial factors by using a connections, topology, a phased depth of the Depthmap as the framework of the visual recognition of the space syntax covering the characteristic of dematerial factors. The result of the quantitative analysis human-behavior in $V\'{e}nissieux$ $M\'{e}diath\'{e}que$ and the result of applying the spatial factors of $M\'{e}diath\'{e}ques$ as the community center to the $V\'{e}nissieux$ $M\'{e}diath\'{e}que$ proved that the spatial factors are significant factors of the $M\'{e}diath\'{e}ques$ as the community center.

• 방송공학회논문지
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• 제18권3호
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• pp.425-434
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• 2013

3D 디스플레이를 통해 입체감을 느낄 때에는 현실세계에서 입체감을 느낄 때와는 다르게 피로를 느끼게 된다. 이러한 피로에 대해 안경식 3D 디스플레이를 사용한 연구는 많았지만 무안경식 3D에 대한 연구는 아직까지 미비한 실정이다. i3D시스템이란 interactive 3D 시스템의 약자로 사용자가 간단한 손동작 등으로 콘텐츠와 협응이 가능하도록 제작한 무안경식 3D 디스플레이 시스템을 말한다. 본 연구에서는 현재 시연용으로 구현되어 있는 i3D시스템을 이용하여 이 시스템을 사용하는 다양한 시청 환경에서의 시각 피로를 측정하였다. 그 결과 시청거리가 멀어질수록 낮은 피로를 보였으며 시차가 작을수록 낮은 피로를 보였다. 시청각도의 경우 3D 입체상이 안정적으로 지각되지 않는 시청각도에서 높은 피로를 느끼는 것으로 나타났다. 또한 시청거리와 시청각도간의 상호작용 효과를 볼 수 있었는데, 3D가 안정적으로 지각되었을 때의 시청각도에서는 시청거리에 따라서 피로도가 감소하는 것을 보였으나 안정적인 3D지각이 되지 않았을 때의 시청각도에서는 거리에 따른 피로도의 차이가 없었다. 이러한 결과는 무안경식 3D 디스플레이와 i3D 시스템 개발에 있어 최적의 사용자 경험을 위한 중요한 자료이다.

• 한국자동차공학회논문집
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• 제21권4호
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• pp.62-69
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• 2013

Visual demands associated with in-vehicle display usage and text messaging distract a driver's visual attention from the roadway. To minimize eyes-off-the-road demands, voice interaction systems are widely introduced. Under cognitively distracted condition, however, awareness of the operating environment will be degraded although the driver remains oriented to the roadway. It is also know that the risk of inattentive driving varies with age, thus systematic analysis of driving risks is required for the older drivers. This paper aims to understand the age-related driving performance degradation and visual attention changes under auditory cognitive demand which consists of three graded levels of cognitive complexity. In this study, two groups, aged 25-35 and 60-69, engaged in a delayed auditory recall task, so called N-back task, while driving a simulated highway. Comparisons of younger and older drivers' driving performance including mean speed, speed variability and standard deviation of lane position, and gaze dispersion changes, which consist of x-axis and y-axis of visual attention, were conducted. As a result, it was observed that gaze dispersion decreased with each level of demand, demonstrating that these indices can correctly rank order cognitive workload. Moreover, gaze dispersion change patterns were quite consistent in younger and older age groups. Effects were also observed on driving performance measures, but they were subtle, nonlinear, and did not effectively differentiate the levels of cognitive workload.

• 한국의상디자인학회지
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• 제13권3호
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• pp.89-103
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• 2011

The purpose of this study is to analyze the formative characteristics of accordion pleats shown in 10/11 S/S London, Paris, New York collection and evaluate the differences of visual image by variations in the width of pleats and the length of the accordion pleats skirt. The stimuli are 21 samples: 7 variations of the width of pleats and 3 variations of the length of skirt. The data has been obtained from 43 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test. The results of the study are as follows: Accordion pleats was first introduced by Marriano Fortuny. He published delphos dress by creating silk pleats manufacturing technique and it was recognized as the best pleats work. Since then, pleats with synthetic fiber characteristics were used by many fashion designers. Accordion pleats were used in various items including one-peice, skirt and pants in collection of 2010 and 2011. The design of accordion pleats skirt used different width of pleats, length of the skirt and materials. The visual image by the width of pleats and the length of skirt are composed of 3 factors : dearness, attractiveness and elegance. In these factors, dearness factor is estimated by the most important factor. The accordion p1eats skirt is most attractive and dear when the width of pleats is the shortest, 1/8", and the width of 4/8" and 5/8" follows. The accordion pleats skirt is most attractive and dear when the length of skirt is similar to that of mini-skirt, and the skirt was estimated to be elegant as the skirt gets longer. When the length of skirt is in between, the skirts were estimated to be ambiguous in all visual images. The interaction effect of visual image according to the changes in width of pleats and skirt length of accordion pleats skirt was seemed to have significant differences by factors, and the main effect had great differences in all factors.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.99-107
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• 2015

The purpose of this study is to analyze the change of visual stimulus of users to the space through the experiment of EEG and the satisfaction of users depends on the lighting. To do that, the results measured with EEG experiment focusing on Beta ${\beta}$ were compared to each other to figure out difference in the changes of the activation of human brain on lighting's situation as the lighting off and on in the same space. The difference in the results was verified according to the characteristic of users which classified with 4 types of the spatial sensitivities. The results of this study are as following. Firstly, the spacial sensitivity of user is to communicate well with the different senses with stimulus through interaction among the elements. At this time, the brain plays a major role in build the spacial sensitivity of users as the place to make form. Secondly, there are the differences in the activation of brain depends on lighting situation even in the same space. The stimulus into the brain became generally stronger in images with lighting on than off. Especially, the response in the occipital lobe which connected with the visual center turn out strongly in the image of 'modern natural'. Because the visual stimulus interact well with the bright color, the reflectional texture and the rough texture painted the dark color. Thirdly, the satisfaction of users changed with lighting in the space. But we could know that the satisfaction of users isn't be related to the visual stimulus through the results of this study. Finally, there isn't the difference in the activation degree of brain according to the characteristic which are preference of users into 4 types of the spatial sensitivity through the results came from ANCOVA(analysis of covariance) with SPSS Program 22.

• Journal of Information Technology Applications and Management
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• 제28권3호
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• 한국융합학회논문지
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• 제12권5호
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• pp.127-138
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• 2021

본 연구의 목표는 인터렉션이 하나의 영역으로서 묘사 가능성을 증명하는 것이다. 또한 패러다임화된 시각으로 인터렉션을 이해하려고 시도하는 것이다. 일반적으로 통용되는 규칙에 기초하여 이론모델을 구축하고, 디자이너들에게 인터렉션의 본질을 효과적으로 이해하도록 돕고, 현재 인터렉션 설계가 주로 기초적인 수단으로 의존하게 됨으로써 파생되는 인력과 시간비용의 낭비를 방지하는 것이다. 2000년도에 처음으로 인터렉션 패러다임화의 개념을 제시한 이래 지금까지 관련된 연구에는 일부 결함이 존재한다. 예를들어 제시된 이론 모델들이 서로 다른 척도에서 만들어졌거나, 혹은 접근하는 시각에 객관성이 결여된 것, 그리고 주로 연구자의 개인적 경험 등에서 오는것 등이다. 본 연구의 가치와 뛰어난 성과는 그 전체적 기초가 파일검색이라는 토대위에 구축되었다. 최근 2000년 이래 현재까지의 인터렉션 패러다임화에 관한 연구 총 21편의 수집을 통하여 인터렉션 속성 모델 19개,인터렉션 속성 포함 총 174개를 추출하였다. 또한 이 174개 속성에 대하여 보다 통일된 표준 척도에 근거를 두고 집합류의 연구수단을 이용하여 재분류 귀납함으로써 두 개의 이론 모델을 한 조로 만들었다. 이 두 모형은 각각 인터렉션 운용과 인터렉션 체험의 시각으로 접근하며, 그중 각 모델은 각각 6개의 독립된 속성을 포함한다. 이 인터렉션 모델의 제시 및 집합류 데이터의 분석은 각 인터렉션 속성이 인터렉션 설계에서 얼마만큼의 주목을 받고 중요한지 밝히는데 도움이 될것이다. 이런 데이터는 디자이너가 디자인 과정에서 힘 분배를 합리적으로 할 수 있게 도와주며, 또한 미래에 인터렉션 설계에 관해 발전공간을 설계하기 위한 이론적 근거를 제공한다.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
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• pp.30-34
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• 2009

오늘날 다양한 앰비언트 또는 유비쿼터스 컴퓨팅 환경을 제공하기위해 사용자와 디스플레이 사이에서의 인터랙션 시스템이 개발되고 있다. 따라서 본 논문에서는 대규모 앰비언트 디스플레이 환경에서 인터랙티브 공간을 제공하기 위해 새로운 형태의 공간 인터랙션 인터페이스 시스템을 제안한다. 즉, 인터랙션 막으로 부터의 거리에 따라 두개의 인터랙션 영역들(인터랙티브 영역과 앰비언트 영역)로 나눈다. 먼저, 인터랙티브 영역에서는 사용자가 인터랙션 막에 가까이 다가갔을때 자유롭게 손 동작만으로 인터랙션을 할 수 있다. 그리고 인터랙티브 공간의 영역을 벋어날 경우 디스플레이는 일반적인 정보만을 보여주게 된다. 따라서 본 시스템은 다양한 인터랙션과 정보를 유비쿼터스 앰비언트 공간상에서 제공한다.

• 한국콘텐츠학회논문지
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• 제11권9호
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• pp.76-84
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• 2011

본 논문에서는 인터랙티브 미디어 작품 제작에 적용 가능한 개념을 제안하고 개념이 적용된 미디어 아트작품에 대한 사용자 경험과 그것에 대한 결과물을 통해 개념의 타당성과 그 가능성을 시험해보고자 한다. 이를 위해 사용자 인터랙션 흔적을 아날로그와 디지털 형태로 남기도록 하는 '에이디-트레이스(AD-Trace)'라는 개념을 세우고, 이를 적용한 다양한 인터랙티브 미디어 아트 작품 창작을 시도하였다. 에이디-트레이스는 디자인 요소로서 '아날로그 흔적(Analogue Trace)', '디지털 흔적(Digital Trace)', 그리고 두 요소를 연결하면서 사용자의 인터랙션을 유도하여 보다 의미 있는 흔적을 남길 수 있도록 지원하는 '인터랙션 메타포(Interaction Metaphor)'를 갖는다. 이 세 가지 요소는 본 연구자의 세 개 작품인 '에이디-피디(AD-PD)', '에이디-스타(AD-Star)', 그리고 '에이디-맵(AD-Map)'에서 각 작품의 콘셉트에 맞게 디자인 되었으며, 사용자 참여 후 얻어진 결과물을 통해 에이디-트레이스가 가질 수 있는 특성을 분석하였다.

• 한국해양공학회지
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• 제11권4호
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• pp.213-220
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• 1997

In this study, a design for a shape of centrifugal pump impeller has been performed using a p.c. under a Windows environment. Interaction between a user and a computer has been easily established using the Visual Basic. In determining an outer diameter of an impeller, steps are divided into two, a basic computational step and a refinment step. In this way user can enter his/her experience at the refinment step and hence can expect to lessen the nonlinear nature inherent to the design. In determining a shape of a side view of an impeller, the Bezier cubic curve has been used, and it can be seen that the Bezier cubic curves are well suited in the shape design under a Windows environment. By simply manipulating the four control points, one can generate various cubic curves among which one is selected. Also, a simple method, which can determine the curved position of an impeller vane, has been developed. These data can be used for final CAD drawings.