• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.173-183
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• 2006

Design is inseparably related to aesthetics. In spite of that, it is difficult to explain the precise aesthetic variables that affect the aesthetic value of space or environment. Therefore, this study intended to find the relationships between aesthetic variables by perceptual and affective judgement for space design with focus on complexity and preference variables. The research found low level of 'arousing' as well as high levels of affective dimension variables 'pleasant' and 'relaxing' evoked high preference. High preference also appeared in space design cases with high unity, order, and clarity with low contrast and complexity, which are variables of perceptual dimension. Complexity, one variables of preference by Kaplan, is in an inverse proportion to space preference. Thus, space design with high complexity has high level of 'exciting' and 'arousing' affective responses and relatively low level of 'relaxing' response. Additionally, it was confirmed that the most importantly influential factor on complexity was diverse components rather than visual richness and ornamentation.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.207-220
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• 2021

Recent advances in new media for sensory experiences keep expanding visual expression methods in installation art such as projection mapping and virtual reality. Artists can create and develop visual expression techniques based on such new media. Projection mapping is a new medium that continues to add various possibilities to visual expression in media art. Under the projection mapping environment, artists can recompose the object or space with the digital content by projecting video onto three-dimensional surfaces in the space. This paper focuses on the process where visual expression with the projection mapping technology leads to viewers' sensory experience. To this end, "reproducibility," "dissemination," "virtuality," and "interactivity" of media were analyzed to describe the meaning and *definition of visual expression. Artworks are considered as an example to study visual expression techniques such as "repetition and overlap," "simulacrum and metaphor," and "displacement and conversion." I applied the analysis and created Domino, a projection mapping artwork, which helps the research on visual expression techniques that can lead to sensory experience the extensibility of visual expression.

• The Journal of Natural Sciences
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• v.18 no.1
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• pp.77-90
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• 2007

This study aims to discussion the characteristics of location and spatial organization of the Byeong San confucian academy. To do this, we studied in two ways; analysis of the present conditions and photographing, research materials about the form of physical structure and review of historical documents. The result of analysis in the sight of the location and spatial structure was good matched. The spatial organization of the Byeong San confucian academy was divided into lecturing space and sacrificial space. In the Mandaeru on Byeong San confucian academy was imported borrowed scenery of surrounding landscape and while placed arranging various constituent elements of the small-scale pond and visual perception in trying to formalize the landscape. The result of this study, analysis of axis and terrace shows backgrounds of these locations shows that the political and social, economical phenomena were influenced to the locations and spatial organization of the Byeong San Confucian Academy.

• Journal of the Korean Society for Precision Engineering
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• v.21 no.4
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• pp.95-102
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• 2004

It is necessary to improve the exactness and adaptation of the working environment in the intelligent robot system. The vision sensor have been studied for this reason fur a long time. However, it is very difficult to perform the camera and robot calibrations because the three dimensional reconstruction and many processes are required for the real usages. This paper suggests the image based visual servoing to solve the problem of old calibration technique and supports OLP(Off-Line-Programming) path compensation. Virtual camera can be modeled from the real factors and virtual images obtained from virtual camera gives more easy perception process. Also, Initial path generated from OLP could be compensated by the pixel level acquired from the real and virtual, respectively. Consequently, the proposed visually assisted OLP teaching remove the calibration and reconstruction process in real working space. With a virtual simulation, the better performance is observed and the robot path error is calibrated by the image differences.

• KIEAE Journal
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• v.10 no.2
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• pp.25-30
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• 2010

The daylited space can improve visual comfort and occupant's well-being. However discomfort glare from the daylight is a common problem in indoor environments and in general, the window is the main glare sources. Some formulas have been proposed for predicting glare from the daylight, however, they do not consider the effect on glare of the view through a window and some studies proved that they are inadequate in real daylight situation. This research aims to identify the relationship between view and discomfort glare considering the subjective impressions. As a preliminary experiment, this paper sets up the experimental protocol to reveal relationships between views from a window and visual perception in a controlled laboratory experiment. $1.2m{\times}1.2m$ artificial window was developed and $0.9m{\times}0.9m$ view image was placed on the window. Discomfort glare and impression evaluation was carried out under four different views and one blank view as a reference condition. The results showed that the subjects evaluated discomfort glare differently with the views even under the same luminance conditions and tended to feel less glare with distance views compared to near views.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.190-202
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• 1995

The Optical Art is based on the principle of visual perception of the illusionary effects which induce psychological responses. It has influenced greatly on the Texile Design in that unique iJlusionary creativity of pattern simulates the visual sense of special movement; the dynamic psylosophy of vitalism. The Optical pattern has become a highly valued item due to its innovative effect in aesthetic direction. According to Vitor Vasarely the pioneer in this area, the integration and the inseparability of form and color which he calls 'Plastic Unity' provides the basis for the composition of infinite variety. The composition of infinite variety. The composition reveals the complex interaction between the space and form relating to order, repetition, combination and permutation. It is not simple to create optical patterns due to the extreme complexity composed by the multi-dimension and the infusion of form and color giving immensely varied movement. The purposes of this study are as follows; 1) to classify the complex processes of optical pattern on the basis of formative method. 2) to develop creative ideas for progressive contemporary textile design In this study, the analysis of applied methods is concentrated, which is based 1) on the gradual modification and on the transformation of the basic plastic elements which depend on thle direction of visual points involVing contradictory perspectives 2) on the composition varied special situations by repeating, overlapping and converging a series of idetUical units or by means of irrdiation, radiation and etc.

• Korean Journal of Cognitive Science
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• v.10 no.3
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• pp.51-66
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• 1999

Selective attention induces perceptual distortions. ranging from repulsion of objects located near the attended area(Suzuki & Cavanagh. 1997) to magnification of the u unattended objects (Tsal & Shalev. 1996). Two hypothetical mechanisms have been p postulated: a shift of receptive fields' positions away from the locus of attention(receptive-field-recruitment hypothesis) or the enlargement of perceived space around the a attended location(space-enlargement hypothesis). The present study distinguished between these hypotheses by investigating the spatial and temporal properties of attention-induced d distortions. Perceptual judgements on vernier alignment. line tilt. line length were used to measure attention-induced changes in perception. Attention was induced exogenously(by blinking a specific set of dots around the test stimuli} or endogenously(by instructing the subject to selectively attend the dots). After inducing attention. the test stimuli were briefly flashed. A staircase method was used to measure the attentional effect. A vertical line was perceived as repelled from the locus of attention. and a line segment appeared longer when attention was given to its vicinity. The effects decreased as the distance between the locus of attention or the time between the onset of attention and the stimulus presentation increased. The results imply that the space-enlargement hypothesis provides a better explanation for the attention-induced changes in perception than the receptive-field-recruitment hypothesis.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.128-136
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• 2015

This research, which has been planned to appreciate the features of continuous observation of space, has applied the procedure of acquiring continuous visual information when the act of watching takes place along the time to analyze the space characteristics through the scenes and time so that the features of attention shown in the process of acquiring visual information at the time of observing continuous scenes might be estimated. For analysis of the features of continuous observation was set up the premise that the features of observation and perception vary depending on gender, when the women shops in department stores were selected as research objects. The observation features found at the time of continuous observation of selling spaces in department stores were focused on two analysis methods in order to compare the differences and characteristics of the two. The followings are the findings. First, the area with predominant observation was found to be 87.1% in both methods. It was found that the analysis of observation features by "Analysis I" was useful for inter-sectional comparison of continuous images. Second, in case of extracting predominant sections, the ceiling or the structures which are the backgrounds rarely attracted any eyes. Depending on analysis method, there was the gap of 14.3%~25.0% between observed sections. Third, in case that the hall is curved, the eyes were found to be expanded from side to side and up and down. The review of observation numbers of predominant sections makes it possible to decide whether it should be regarded as (1) unstability or (2) expanding search, and when the images are enlarged from distant view to close-range view, the weakening vanishing point results in the increase of expanded search of surroundings. Accordingly, it was found that the characteristics of images has effects on the observation features when any space was continuously observed. Furthermore, the difference of analysis methods also was found to be likely to cause big differences in the results of analyzing observation features.

• Journal of the Korean Institute of Educational Facilities
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• v.19 no.5
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• pp.3-10
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• 2012

In recent times, education facilities for children have focused on the importance of the "living environment" of children. This is because children have a more sensitive response than adults in their lives. All of the field activities, body movement, and play they go through in their living environment exhibit a great educational effect while promoting their emotional, physical, and mental development; therefore, these are the main priority factors in planning an education facility for children. A space may be deemed to be created by the relationship between objects and the people who perceive them. Also, space cognition may be defined to be made of the perception of a space, integration with experience, and restructuring. Physical factors and visual factors, which are the basic factors composing a space, either play their roles as independent variables in a space or form a relationship through a combination between the factors; thereby, diverse types of space experiences may be created. Space experience may be realized through the "movements" of a user, and a user selectively experiences a space through his/her voluntary movements, while experiencing the space against their will through flexible movements. In particular, space experience through movements has an effect on children in terms of making them feel like having daily exploration, and it also has a positive effect on education. A movement space in which "movements" appear most strongly in an education facility for children connects various nearby spaces, and it also portrays a transfer role. Furthermore, in this space, a variety of space changes can be found; thereby, children are able to have diverse selective space experiences.

• The Journal of Art Theory & Practice
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• no.9
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• pp.123-150
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• 2010

In his non-hierarchical approach to art making, Robert Irwin questions how art is made. In the process, he seems to come down on both sides of the Modernism versus Postmodernism debate. Insofar as he wants to advance the avant garde tenets of modern art, he can be thought of as a modernist. But insofar as he denies Modernism's claims for transcendental status, he can be thought of as a postmodernist. Irwin's light and space environments, in particular, are conditioned by their basic attachments to their surroundings. They reveal the commonplace, but largely overlooked, richness of visual perception. By encouraging his viewers to open their eyes, Irwin wants them to engage in an act of looking, one that manipulates the basic syntax of seeing. This paper discusses Irwin's contributions to the art of his time (basically the transitional period between Abstract Expressionism and Minimalism) using as an example a light and space environment he created as the backdrop for the "First National Symposium on Habitability." This work was later reprised in 1980 as an independent installation. These works are examined to show how Irwin's art displaces modernist notions of authoritative (and authoritarian) quality with postmodernist ideas of direct (and demotic) value.