• Journal of Gifted/Talented Education
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• v.25 no.4
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• pp.469-491
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• 2015

The present study investigated the inhibition mechanisms of gifted children, which is one of the main executive functions in human cognitive system. The inhibition process was subdivided into cognitive and emotion aspects in order to examine the interplay between these two aspects with respect to inhibition processing. In Experiment 1, word-color Stroop task was used to study the cognitive inhibition process of 100 gifted children(Gender: 62 males, 38 females; Academic grade: 46 Elementary school students, 54 Secondary school students). In addition, emotional Stroop task was utilized in Experiment 2 to examine the effect of emotional component during cognitive inhibition process. Results revealed a significant cognitive cost (i.e., word-color Stroop effect) when participants had to withhold automatic response during cognitive inhibition task in Experiment 1. Such cognitive cost was reduced as the chronological age of the participants increased, with no difference in gender. The results in Experiment 2 showed no significant emotional inhibition cost (i.e., emotional Stroop effect) during cognitive inhibition task, and there was no effect of gender nor age. This suggests that the emotional component conveyed in words did not lead to cognitive bias effects. This study proposes that the cognitive and emotional inhibition processes are seemingly independent mechanisms that engage in complex interactions during inhibition processing of behavioral response.

• Science of Emotion and Sensibility
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• v.25 no.2
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• pp.23-30
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• 2022

The weight of an object is an important research topic in terms of sense, and objects have size-weight, color-weight, and material-weight illusions due to the influence of size, color, and material and the weight of the object. Although temperature is a very important environmental factor in our daily life, there is a dearth of studies on how the temperature of an object affects its perceived weight. This study analyzed the effect of an object's temperature on the perceived weight. A stainless steel cup, in which weight and temperature are easily adjustable, was selected as a perceived weight measurement object; 5 temperature levels (0, 9, 20, 40, 70 degrees) and 2 weight levels (250, 400 g) were set. A total of 40 healthy men and women in their 20s participated in the experiment. The weight of the given cup compared to the reference cup was evaluated according to the modulus method. The study revealed that both temperature and weight significantly affected the perceived weight. The effect of temperature on the weight was different depending on the weight of the object. When the cup's weight was small (250 g), the temperature of the cup did not affect the weight. However, the perceived weight of a large cup (400 g) increased at a low temperature. This result suggests that the effect of temperature on the weight of an object depends on the size-weight illusion.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.05a
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• pp.235-238
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• 2009

최근 생활수준의 향상으로 의복의 기능성이 중시되면서, 건강, 감성, 쾌적 등에 대한 욕구를 충족시킬 수 있는 건강 소재 개발에 대한 연구와 니트에 관한 선호도 및 감성연구는 활발히 진행되고 있다. 그러나 현재까지 건강 니트 소재의 감각 및 감성이미지에 관한 연구는 부족한 실정이다. 본 연구는 키토산 섬유와 서스 섬유의 니트 소재를 편성한 다음 최종 소비자의 감각과 감성이미지에 미치는 영향을 연구하여 실제 건강 니트 소재를 기획하는데 필요한 정보를 제시하고자 한다. 본 연구에서 키토산 섬유와 서스 섬유를 회색계열로 변화를 주어 10 게이지의 컴퓨터 자동 횡편기로 5 종의 평편 시료를 편성하였고 20 대 남녀 대학생 69 명을 대상으로 5 종의 시료($20\;cm{\times}15\;cm$)를 랜덤한 순서로 제시하여 눈으로 시료를 보고 직접 만지면서 평가하도록 하였으며, 감각 18 개와 감성 22 개, 선호도 3 개의 총 43 개 형용사로 이루어진 7 점 척도를 사용하였다. 건강 니트 소재의 감각 및 감성 이미지를 요인 분석한 결과, 감각요인은 '부피감', '요철감', '신축감', '현시감', 변형감'의 5 가지 요인, 감성요인은 '온유감', '안정감', '고급감', '활동감'의 4 가지 요인으로 분류되었다. 색 속성 중 명도 수준별 감각요인 및 감성요인 중 '요철감'과 '안정감'의 매우 유의한 차이가 나타났다. 고명도, 저명도 수준은 울퉁불퉁하고 오톨도톨하지만 안정적이고 깨끗한 이미지로 느끼는 것으로 나타났고 중간 명도수준은 '요철감'과 '안정감'이 감소되었다. 차콜색의 키토산 100%와 연회씩의 서스 100%의 경우 울퉁불퉁하고 오톨도톨하지만 안정적이고 깨끗한 이미지로 느끼는 것으로 나타났고, 차콜색 키토산섬유와 연회색 서스섬유를 혼방하여 편성한 경우 '요철감'과 '안정감'이 감소되었다.

• (The) Research of the performance art and culture
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• no.40
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• pp.5-35
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• 2020

Affect is intensity and quality that are generated as the physical body senses the outside world. Of experienced affect, notions that are granted meaning and interpretation are emotions. Affect theory distinguishes emotion and affect and by focusing on affect, it provides methods with which to analyze physical body responses and changes and it presents new possibilities to performing arts research that uses the physical body as a medium. Nong-ak is art that concentrates mainly on the occurrence of affect rather than 'representation'. Nong-ak is a performance type in which sound, color, texture, and physical movement overlap and exist in a synesthetic way. Here, physical things such as instruments, props, costumes, and stage devices are gathered together with non-physical things such as rhythm, mood, and atmosphere around human bodies. The physical body is stimulated by these things, displays tendencies that suit performances, and becomes 'the body without an image' as it immerses itself into the performance, acting while displaying 'quasi-corporeality'. The body, which moves automatically as if without consciousness, appears more easily within groups. To transition individuals of everyday life to 'the body without an image', Nong-ak executes the group physical exercise of 'Jinpuri'. Such physical exercise builds up affect by increasing nonverbal communion and communication and brings out the creativity of individuals within mutual trust and a sense of belonging. Affect and emotion stirred up by Nong-ak act as confirmation and affirmation of the existence, vitality, and ability of one's self and groups. Such affirmation recalls Nong-ak as a meaningful and important value from group dimensions and perceives it as a performance form that should be preserved and passed on.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.251-258
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• 2010

'Naturalness' is the important "ness" which is a key factor in image quality assessment. 'Naturalness' is a representive factor depending on the context of the image which arouses different emotions. The Image Quality Circle was split into two steps. The first step is predicting the visual perceptual attribute which are lightness, colourfulness, hue and contrast. The next step is SSE which is dependent to image contents. In this study the image contents are grouped in genres. The images were rendered using four different colour attributes which are lightness, contrast, colourfulness and hue. Using a scale, the score of image quality and SSE was asked to each participant for all rendered images. A seven-point category scale of increasing amount of "ness" is used as a quantitative adjectives sequence. The image quality model was built by combining the SSEs for each scene. The SSEs, where vividness is common, are considered as independent variables to predict the image quality score. Then the vividness model was built using colour attributes as variables to predict the vividness of each scene (genre). Vividness is an important factor of naturalness which the meaning is different for all scenes that links the naturalness and image quality. The vividness meaning was different for each scene (genre). Therefore, the colour attributes that express the vividness would depend on the image content.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korean Society of Costume
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• v.6
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• pp.65-87
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• 1982

1. Purpose: The purpose is to apply and adapt ancient textile pattern to practical life, and to contribute to the promotion of the creative development of modernization and Koreanization of textile pattern by the survey of the extent of taste for the textile pattern existent in Korean costume among costumes. 2. Hypothesis: Textile pattern is in most classical one expressed in fact, but nowadays abstract or geometric one is more exist. Consumers are in most part in forties, and so the taste cannot be ignored. Therefore aesthetic consciousness found Korean costume is more important rather than excessively bold or mordern one. 3. Method and Process: (1) This research is analysed 386 one through college student and parents of a primary or high school. (2) Taste of the pattern is comparisoned and analyzed as age. education, pocket money of the student or an income of a month in home through computer. And the analysis of the statistics research is operation through the Chi-Square Goodness of-Fit-Test. 4. Conclusion: (1) The Korean costume put on mostly party or formal dress, therefore it should be researched as an outdoor dress with traditional costume. (2) The most one is concerned in textile pattern, it's taste is different from color, constitution. Textile industry is developed not only weave pattern, gold-coverning pattern but embroidry pattern, dye pattern, therefore the various side of pattern design should be researched. (3) In Side of form, plant pattern is not only most various but highest in popularity. According to approach nowadays, all of the pattern becomes composition or geometric one with abstract tendency and so from these day pattern is necessary combinationed, researched with our people emotion. (4) The color of textile pattern is choiced individual taste. Through investige, research in various side of the modern taste and our costume, we take growing interest in the color, composition of textile, and should dressed with beauty and grace. (5) In side of size, textile pattern is choiced to individual face and body shape through research on form, color, size of these pattern, we should endeavor to dress well. (6) In side of application, most people is concerned in not only interior ornament but the costume is high. Costume research by some people of the outside and symbol with interior through the pattern analysis is not only very important but also is due to people culture.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1291-1304
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• 2010

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical 'Chicago' formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.117-123
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• 2008

When it comes to clothing design, after the mid 20th century some internationally renowned designers began to recognize the pivotal role clothing materials play in attracting the hearts of customers. Accordingly, they started to take advantage of new clothing materials in the sector of clothing design. While the theme of fashionable clothing products shifts from style and color to clothing materials, fashion designers place the quality of materials at the center of clothing designs. Fashion designers also realize that good quality of materials should be used to boost the value of products as well as to satisfy the conditions of creativity, practicality and aesthetics. In particular, as the non-apparel industry in which clothing materials are the most important aspect between fashionable color, silhouette and details is enhancing their attention to develop various materials in order to meet the needs of customers, the fashion industry places a high premium on textile design which is the pinnacle of expressing emotion on clothing materials. In addition, the industry raises awareness of developing more sophisticated and differentiated materials. Our thesis covers the way how to apply $moir{\acute{e}}$ pattern to clothing design on the basis of research. In order to put that research into practical use, we produced textiles which effectively display $moir{\acute{e}}$ pattern. Before this process, we tried to ensure that radial grating created $moir{\acute{e}}$ pattern effects. To this end, the weaving process was applied, depending on whether light can penetrate textiles or not. Then, we manufactured test-products using $moir{\acute{e}}$ pattern.

• Journal of the Korea Society of Computer and Information
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• v.16 no.10
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• pp.93-100
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• 2011

The necessity of research on extracting information of face and facial components in animation characters have been increasing since they can effectively express the emotion and personality of characters. In this paper, we introduce a method to extract face and facial components of animation characters by defining a mesh model adequate for characters and by using dominant colors. The suggested algorithm first generates a mesh model for animation characters, and extracts dominant colors for face and facial components by adapting the mesh model to the face of a model character. Then, using the dominant colors, we extract candidate areas of the face and facial components from input images and verify if the extracted areas are real face or facial components by means of color similarity measure. The experimental results show that our method can reliably detect face and facial components of animation characters.