• 한국콘텐츠학회논문지
• /
• 제10권12호
• /
• pp.146-154
• /
• 2010

오늘날 '컨버전스'와 '소통'은 모든 분야에서 키워드가 되고 있다. 예술가와 공학자는 새로운 기술에 기반을 둔 협업을 통해 그 동안의 상호단절에서 벗어나 점차 소통하고 있다. 컨버전스 시대에 예술 영역의 인터넷 아트와 기술 영역의 내비게이션과 아이폰에서 오감융합기술의 활용이 돋보인다. 소메라와 미뇨노의 인터넷 아트 $\ll$Riding the Net$\gg$, $\ll$The Living Room$\gg$, $\ll$The Living Web$\gg$은 음성인식을 통한 시각이미지와 촉각을 통한 시 공간 표현을 인터넷과 오감융합기술을 통해 구현하고 있다. 그리고 산업기술에서 내비게이션과 아이폰은 음성인식을 통한 오감융합기술을 적용하여 감성영역을 확장하여 인터넷 아트와 비슷한 기술을 선보인다. 이 연구에서 살펴본 바와 같이, 예술과 기술의 융합적 발전은 디지털 아트와 문화기술 산업의 새로운 지평을 열 것으로 보인다.

• 패션비즈니스
• /
• 제19권5호
• /
• pp.34-47
• /
• 2015

Sexiness is the image of a person who attracts attention regardless of his/her age, and today's society has created a more positive impression by transforming the image into something others consider even more attractive. Consequently, we begin to take interest in makeup, - a means of portraying a good impression. Eyebrow makeup in particular, being at the center of the determining factor of a good facial image, can be thought of as the makeup that can most effectively transform one's image. The purpose of this study was to analyze the difference in perceived sexiness depending on the general perception of eyebrow makeup. This study produced an eyebrow stimulus that applied the average rate of change in an image transformation of different eyebrows in order to raise the objective credibility of the sensibility evaluation so it could determine the figure of influence that eyebrows had on facial impressions. The research results showed that the majority of female university students believed that eyebrows were an effective means of expression in changing facial images and attributed a higher mature and sexy image if the average ratio of change was higher. The study, could also identify that a sexy image was perceived when the average rate of change was between 0.39~0.44. In addition, when the gradient of the shape of the viewers' own eyebrows was low, it could be verified that they perceived an image to be sexy from seeing eyebrows with a relatively high gradient.

• 한국실내디자인학회논문집
• /
• 제18권1호
• /
• pp.35-42
• /
• 2009

In this study, the author aims to examine that the image for specific space coming through vision is to reveal how people perceive the space through vision and whether the perceived space includes the role as the catalyst that causes the following activities. It is believed that the fact which elements are remembered as the whole expression as well as the memorized images that humans have regarding the space should act as the important factor in terms of space perception. The conclusions from this study are as follow; 1) By analyzing the frequency of observation time that were obtained from the examinee, it was possible to classify the property of observation with S areas. Besides, it was possible to the meanings that the design elements have in each area. The establishment of the areas are considered as the important factor to examine which design elements have drawn the attention. 2) In case of I area which showed the most design factors that would lead examinee's vision or have interests in the examinee views, it showed that it stared the lower parts from the middle of the Image spatially, which was the most stable position from the image with strong tendency for staring at this area. 3) The most frequently stared area was the lower part of the middle, however, while the I area gazed the right side of the middle, II area faced the left side more so that it was revealed that it stared at the lower part of the middle and right side, then, moved to left. 4) Despite the frequent observation, some areas had very low or few observation data records and the area which was designed with monotonous color with relatively large size was also involved here so that it was identified that the simply treated area in design was rarely gazed.

• 한국인터넷방송통신학회논문지
• /
• 제21권4호
• /
• pp.31-36
• /
• 2021

색채 속성으로는 색상, 명도, 채도로 구분 지을 수 있으며 색채 속성 각각에 따라 색채를 인지하는 특성이 달라진다. 색채를 인지하는 데 있어서 한 가지 색채를 독립적으로 보는 것이 아니라 주변 색채를 함께 보게 되며 주변의 색채 특성에 따라 원본 색채 인지 특성은 달라질 수 있다. 선행된 색채 인지 및 감성 연구는 단일 색채를 대상으로 한 것이 대부분이며 이는 실생활에서 색채를 인지하는 것과는 차이가 있으므로 주변 색채를 고려한 색채 인지 기초 연구가 필요하다. 본 연구에서는 그래픽 영상에서 자주 사용되는 테두리 밝기에 따른 색채 인지 특성을 알아보고자 정신물리학 실험을 진행하고 이를 분석하였다. 밝기에 가장 민감한 시각적 특성을 기반으로 테두리 밝기를 변수로 설정하고 실험 자극색상으로는 먼셀 색채를 사용하여 실험을 진행하였다. 본 연구에서는 진행된 실험 결과를 분석하여 테두리 밝기에 따라 색채를 인지하는 시지각적 특성에 대한 기초 연구 자료로써 유의미 여부를 정의하고 향후 연구 방향을 제시한다.

• 한국융합학회논문지
• /
• 제13권4호
• /
• pp.271-278
• /
• 2022

탄산음료는 우리 생활 속에서 인기가 높은 음료의 일종으로 젊은 층을 중심으로 판매되고 있다. 현재 판매되고 있는 탄산음료는 브랜드가 많고, 대부분 식감의 구분이 강조되고 있으며, 브랜드 이미지와 패키지에 있어 전체적으로 패키지 디자인을 더욱 상업화하였다. 탄산음료 패키지 디자인의 감성경험을 증가시키는 것이 필요하며, 이는 브랜드의 부가가치를 높일 수 있다. 감성은 인간의 가장 보편적인 심리 경험으로써 사물에 대한 주관적인 경험과 느낌이다. 탄산음료의 패키지 디자인에 감성경험의 접목하기를 통해, 탄산음료를 구매하면서 보다 많은 감성적 사용자 경험을 선사해 제품 패키지 디자인의 다양화를 실현하고, 소비자의 감성적 욕구를 충족스키는 것이다. 본 논문은 우선, 탄산음료의 패키지 디자인에 대한 논문을 고찰하고, 시판 중인 탄산음료의 판매 현황에 대한 조사와 패키지 디자인 분석하고, 설문조사를 실시한다. 연구결과, 패키지 디자인을 통해 감성을 경감할 수 있다는 점을 알아냈다. 본 연구가 앞으로 패키지 디자인의 감성경험 향상에 있어 시사점이 되기를 바란다.

• 한국의류산업학회지
• /
• 제23권6호
• /
• pp.726-743
• /
• 2021

This study tried to examine the fashion design and style of representative K-Pop boy groups BTS and SEVENTEEN appearing on music shows. The data collection was conducted on 4 music programs(Inkigayo, Music Bank, Show! Music Core, M COUNTDOWN) and YouTube(www.youtube.com) for each boy who worked for 5 years from January 2016 to December 2020. Result analysis utilized the stage scenes and music videos of the title songs of BTS and Seventeen. As for the fashion design and style characteristics of BTS, it was found that overall, the color, pattern, and decoration of the bottom were minimized, and the style was changed mainly by the top of the denim pants. As for Seventeen's fashion design and style characteristics, it was analyzed that plain simple slacks, bright and modest chromatic colors, and geometric and stylistic patterns with street retro sensibility were relatively emphasized, and natural and romantic images appeared a lot. As a result of examining the differences in fashion design and style characteristics between BTS and Seventeen, significant differences were found in color, tone, color scheme, material type, material combination, detail, trimming, pattern, accessories, and fashion image. Overall, it was found that both groups minimized the use of decorative elements such as patterns, details, and trimmings.

• 수완나부미
• /
• 제10권1호
• /
• pp.63-91
• /
• 2018

One of the goals of this article is to continue the momentum begun by emerging scholarship on theory and practice of writing about visual culture of and in Southeast Asia. I hope to offer culturally sensitive and embodied ways of looking at images and objects as sites/sights of cultural knowledge as further theoretical intervention. The argument put forward in my essay is three-fold: first, I critique the prevailing logocentric approach in the field of Southeast Asian Studies and I argue that in a postcolonial, global, and transnational period, it is important to be inclusive of other objects as sites/sights of social, political and cultural analysis beyond written and oral texts. Second, I argue that although it has its own political and theoretical problems, the evolving field of Visual Studies as it is practiced in the United States is one of many ways to decolonize the prevailing logocentric approach to Southeast Asian Studies. Third, I argue that if one reads these Euro-American derived theories of vision and visuality through the lens of what Walter Mignolo calls "colonial difference(s)," then Visual Studies as an evolving field has the potential to offer more nuanced local ways of looking at and understanding objects, vision, and visuality. Last, I point out that unlike in the West where there is an understanding of pure, objective and empirical vision, local Southeast Asian perspectives on objects and visions are more embodied and multi-sensorial. I argue that if one is ethically mindful of the local cultural ways of seeing and knowing objects, then the evolving field of Visual Studies offers a much-needed intervention to the privileged, lingering logocentric approach to Southeast Asian Studies. Moreover, these alternative methods might help to decolonize method and theory in academic disciplines that were invented during the colonial period.

• 조형예술학연구
• /
• 제7권
• /
• pp.64-104
• /
• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• 대한의용생체공학회:의공학회지
• /
• 제25권6호
• /
• pp.447-453
• /
• 2004

사람의 장속에서 영상을 획득하여 이를 체외로 전송하는 무선 내시경과 같은 초소형 텔레메트리 캡슐에서는 캡슐의 크기와 전원 공급에 많은 제약을 받는다. 캡슐을 삼킬 수 있는 크기로 제작하기 위해서는 소형의 건전지를 사용하여 캡슐이 소화관 내를 조사하는 동안 안정적인 전원 공급이 이루어지도록 해야 한다. 이를 위해서는 양방향 통신을 이용한 캡슐의 동작 및 전원 제어가 필수적이다. 본 연구에서는 캡슐형 내시경에서의 양방향 통신을 위한 CPLD (complex programmable logic device) 기반의 제어기를 설계 및 구현하였다. 캡슐 제어기는 체외의 제어기로부터 제어 명령을 전달받아 이를 수행하며 제어 동작의 수행 결과로 장내부의 영상을 획득하여 체외로 전송한다. 설계한 제어기를 컴퓨터 모의실험을 통해 설계사양을 검증하고 이를 CPLD로 구현하였다. 구현한 제어기를 캡슐형 무선 내시경에 탑재하여 동물실험을 수행하였으며 동물 실험 결과 실험 대상 동물의 체내에서 캡슐의 동작과 전원을 제어 할수 있었으며 동작제어의 결과로 장내부의 영상을 획득하여 이를 복원 할 수 있었다.

• 감성과학
• /
• 제16권3호
• /
• pp.373-386
• /
• 2013

본 연구에서는 이미지 감상자가 선호하는 화질의 객관적 평가 항목들의 범위를 구체화하고 실제 이미지를 기반으로 화질의 선호도를 측정하는 방식을 따랐다. 즉, 무기준법(No-Reference)을 기반으로 하고 화질 평가 요소를 다이내믹 레인지, 컬러, 콘트라스트로 규정하였다. 샘플 사진 수집은 인터넷 갤러리에서 추천수 30회 이상을 기준으로 감상자들이 선호하는 풍경사진 200장의 이미지를 선정하였다. 그리고 세 가지 객관적 화질 평가 항목에 의한 정규분포분석을 통하여 총점을 백점 기준으로 환산하여 최종적으로 예상되는 화질의 선호도를 측정하였다. 본 실험에서 적용한 실제 사진 샘플의 다이내믹 레인지 측정값은 10 stop, LAB 평균은 L:54.7, A:2.96, B:-15.84, RSC 콘트라스트는 376.9로 나타났다. 총 200장 샘플 사진의 정규분포 z값은 다이내믹 레인지가 0.21, LAB 평균이 LAB 평균이 L:0.15, A:0.38, B:0.13, RSC 콘트라스트가 0.08을 나타냈다. 표준정규분포 표에서 위의 z값이 나타날 확률을 상위 백분율로 나타내면 실제 사진 샘플의 다이내믹 레인지는 8.32%, LAB 평균은 LAB 평균은 L:5.96%, A:14.8%, B:5.17%, RSC 콘트라스트는 3.19%를 나타낸다. 즉 화질 평가 모형에 사용된 실제 사진 샘플의 상위 백분율을 100점으로 환산한 다이내믹 레인지는 91.68점, LAB 평균은 91.36점, RSC 콘트라스트는 96.81점이다. 따라서 세 가지 객관적 화질 평가 항목에 의한 총점의 평균은 94.99점으로 나타낼 수 있었다. 즉 본 연구에서 제안한 화질 측정 모형을 통하여 실제 사진 샘플에 대한 선호도를 수치적으로 측정할 수 있었다. 이와 같은 연구를 통하여 이미지 감상자가 선호하는 화질의 재현 성능 범위를 구체화하고 예상되는 화질의 선호도를 수치화하는 실용적인 연구 결과를 제안하였다.