• Science of Emotion and Sensibility
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• v.21 no.2
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• pp.15-28
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• 2018

The purpose of this study was to conduct eye-tracking experiments to target large spaces and to analyze the characteristics of pupil gaze by gender. By analyzing the change of pupil size in the eye-tracking experiment, we suggest a template for objective and scientific analyses of gender observation data. Additionally, based on the difference between gender and time to pupil size change, we noted the characteristic of time that gather the visual perception data information and showed that females attend to interesting elements of visual information one to two seconds slower than males. In the initial "$1sec{\rightarrow}2sec$", the pupil size has been increased in leap condition of male and in fixed condition of female. In addition, if condition limits to fixed observation to view the change rates on gender then the pupil size of female was larger than male before 9 seconds, while male's pupil size was larger after 9 seconds. This indicates that females obtain visual information through a relatively larger pupil size during the first 1-8 seconds after stimulus presentation, while males acquire it between 10-15 seconds after input. However, based on the result that the pupil size of female was larger than male on the change of observation time, the pupil size movement on female was energized to watch more interest element after a certain period of time.

• Journal of The Korean Society of Inherited Metabolic disease
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• v.11 no.1
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• pp.88-98
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• 2011

Lesch-Nyhan syndrome is a X-linked recessive disorder caused by a deficiency of the enzyme hypoxanthine-guanidine phosphoribosyltransferase (HPRT), enzyme to recycle purines. Case history: born induced vaginal delivery at 40 weeks complicated by premature membrane ruputure, body weight 2.820 gm. He showed failure to thrive showing severe protein aversion like milk products and pink daper. Developmental delay revealing rolling over at 10.5 month, followed by regression. Seizure at 2 months, His poor oral feeding was lifelong problem. Weak crying, spastic, choreoathetoid movement. Self mutilating behavior noted and diagnosed at age 3 years. No family history of consanguinity and neurological disorders. Method: Laboratory test, physical exam, imaging study and molecular. Clinical follow up Treat ment with allopurinol. Result: uric acid 10.5 mg/dL (N 3.5-7.9), APRT 151.1uM/ min/ml pro(25.7-101), HPRT 7.6 (N 233.5-701) and c.151C>T hemizygote (p,Arg51X). Abdominal sonogram showed staghorn calculi in both kidneys, brain MRI brain atrophy. Clinical follow up showed, seizure at 2 mo, developmental delay (head control and, rolling over at at 11mo, pointing body part at 2 yr 7 mo, eye hand coordination at 2 y 11mo,creeping at 3 y 7 mo, speaking words at 6 y 6 mo ),and developmental regression at 3 yr of age. Sleeping problem including insomnia and severe constipation. Self mutilating behavior (lip bite) started at 2.5 yr, neurologic sx including intermittent upward gaze accompanied by swallowing difficulty at 3 y 7 mo grand mal seizure at 4.5 yr and spastic extremity and trunchal hypotonia and choleoathetoid movement and ataxia at 6.5 yr. Scoliosis with severe spasticity at 9 yr 9 mo. Acute life threatening episode with irregular breathing at 9 yr and 9 mo, Emaciation and nephrolithiasis and recurrent pneumonia. Died suddenly at 10 yr 3 mo. Conclusion: life long feeding problem, chronic gut motility dysfunction, sleeping difficulty and progressing neurologic deterioration and nephrolithiasis despite normal serum uric acid maintence by allopurinol treatment.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.43-52
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• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• Journal of Music and Human Behavior
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• v.14 no.2
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• pp.19-43
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• 2017

This study aimed to examine the effects of a reciprocal attention intervention on the joint attention behaviors of children with autism spectrum disorder (ASD) by comparing the music and nonmusic conditions. An alternating treatment design was applied as one of the single subject designs and the reciprocal attention intervention included music and nonmusic conditions implemented alternately within a session. The participants were four children between the ages 4 and 5 years and each participant who participated in 23 intervention sessions that followed the sequence of baseline (3 sessions), treatment (15 sessions), and follow-up (5 sessions). The music condition consisted of structured joint instrument playing, trials for attentional shift, and interactive instrument playing. The nonmusic condition consisted of joint toy play, trials for attentional shift, and turn taking-based play. The occurrence of target behaviors (i. e., joint attention behavior, eye gaze, and joint action) was analyzed across sessions. At pretest and posttest, the Early Social Communication Scale was administered. All participants showed increasing tendency in all target behaviors, but such occurrence was greater in the music condition than in the nonmusic condition. The findings support the use of a reciprocal attention intervention with musical stimuli to effectively improve joint attention in this population.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.11 no.3
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• pp.112-123
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• 2012

Different from general roads, intersections are the points where roads having different geometric structure and traffic operation system are met, and thereby they have complicated road structure and environmental factors. Various changes in driving patterns such as collision between vehicles approaching from roads adjacent to intersections, sudden stop of vehicles upon stop sign, quick start upon green lights kept increasing traffic accidents. It is known that traffic accidents are mainly derived from human factors. This study, in order to find out factors affecting drivers' behaviors within intersections, measured physiological responses such as brain wave, sight, driving speed, and so on by using state-of-the-art measuring device. As to concentration brain wave at individual intersections, it was found out that brain wave of testes was higher at main Arterial and accident-prone intersections compared with that of subsidiary Arterial. In addition, it was detected that drivers' visual activity was widely distributed at accident-prone intersections, meaning that it enhanced cautious driving from nearby vehicles. As to major factors causing drivers' workloads, factors from nearby vehicles such as deceleration, acceleration, lane change of nearby vehicles appeared as direct factors causing drivers' workloads, clarifying that these factors were closely related to causes of traffic accidents at intersections. Results of this study are expected to be used as basic data for evaluation of safety at intersections in consideration of physiological response of drivers.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.89-122
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• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.