• 한국조경학회지
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• 제29권5호
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• pp.28-36
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• 2001

The purpose of this study is to research the influence of soundscape in the preference of landscape. Specifically, standards type of communication are applied to the landscape such as positive scenery and negative scenery. The spatial image was analyzed by the variables of Kaplan\`s information process model. The level of visual preferences was measured by a type of acoustic information and visual information in the landscape, and this data was analyzed by multiple regression. The results of this study can be summarized as follows; The value of landscape preference was maximum value in Type I and minimum value in Type II from all fluent of coherence, mystery, and legibility to, except complexity, and it was not different from preference. These results clearly show the influence of sounds effecting decision of landscape preference. It was different by the type of acoustic information and visual information in landscape. The results of ANOVA among types of acoustic information were differences of mean between positive sound, no sound and negative sound from coherence, mystery, and legibility to, except complexity. These variables may be the major factors which must be considered in planning and designing as the functional basis for quantitative analysis.

• 디자인학연구
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• 제14권3호
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• pp.49-58
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• 2001

멀티미디어 시대의 커뮤니케이션 디자이너는 색채, 형태, 시간, 움직임과 같은 시각적인 요소뿐만 아니라 사운드까지도 메시지를 전달하는 표현요소로서 인식하여야 한다. 잘 알려졌다시피 시각이나 청각 어느 하나만으로 메시지를 전달할 때보다 시청각을 조화시켜 메시지를 전달할 경우 인지도가 높기 때문이다. 시각과 청각의 만남은 공감각에 근거하는데 이것은 색채와 음, 형태와 사운드의 연상작용으로 나타난다. 기초적인 예를 들면 낮은 음은 어두운 색을 연상시키며 높은 음은 밝은 색을 연상시킨다. 또 타악기는 원을, 멜로디는 선을 연상시킨다. 멀티미디어에서 시각적 요소와 청각적 요소는 이전의 시청각매체에서와 달리 단순히 보이는 장면과 관련된 소리를 들려주는 동시성의 수준에서 벗어나 각각 독립적인 표현요소로 작용하여야 한다 이렇게 독립적인 표현요소로서의 시각과 청각이 만나서 상호작용을 일으킴으로써 그 중 어느 하나만으로는 도달할 수 없는 새로운 감동을 불러일으킬 수 있는 것이다. 멀티미디어 시대의 디자인 교육은 이렇게 시각과 청각의 상호작용의 원리를 이해하고 메시지를 시청각적으로 표현할 수 있는 능력을 개발하는 교육 프로그램을 필요로 한다. 본 논문에서는 이러한 교육 프로그램을 시청각 조형, 시청각 구성, 시청각 디자인으로 구분하여 구체적인 과제들을 예로서 제시하였다.

• Investigative Magnetic Resonance Imaging
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• 제2권1호
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• pp.50-57
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• 1998

경사 자계 펄스에 의한 MR 소음은 환자의 촬영뿐만 아니라 뇌기능 영상과 같은 신경 과학 영상에도 문제점 중의 하나이다. 특히 뇌기능 영상에서 소음은 피질과 혈관의 산소량의 변화로부터 생기는 작은 신호의 변화에 영향을 미치는 심각한 잡음 중의 하나이다. 본 연구에서는 청각, 운동, 및 시각피질에서 소음이 뇌기능 영상에 미치는 영향을 알아보고자 하였다. 그 결과 소음이 운동과 시각 피질에 미치는 여향은 서로 반대였다. 즉, 운동 피질에서는 소음이 총반응을 증가시켰고, 반대로 시각 피질에서는 소음이 총반응을 감소시켰다. 현재의 연구가 시작 단계에 있고, 앞으로 더 많은 실험적 검증이 필요한 실정이나, 소음이 운동과 시각 피질의 뇌기능 영상에 미치는 여향에 관한 첫번째 보고이며, 이결과는 앞으로 뇌기능 연구의 데이터 해석에 기초 자료로 이용될 수 있다.

• 대한청각학회지
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• 제24권4호
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• pp.174-179
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• 2020

Background and Objectives: The integration of auditory-visual speech information improves speech perception; however, if the auditory system input is disrupted due to hearing loss, auditory and visual inputs cannot be fully integrated. Additionally, temporal coincidence of auditory and visual input is a significantly important factor in integrating the input of these two senses. Time delayed acoustic pathway caused by the signal passing through digital signal processing. Therefore, this study aimed to investigate the effects of hearing loss and hearing aid digital delay circuit on sound-induced flash illusion. Subjects and Methods: A total of 13 adults with normal hearing, 13 with mild to moderate hearing loss, and 13 with moderate to severe hearing loss were enrolled in this study. Subsequently, the sound-induced flash illusion test was conducted, and the results were analyzed. Results: The results showed that hearing aid digital delay and hearing loss had no detrimental effect on sound-induced flash illusion. Conclusions: Transmission velocity and neural transduction rate of the auditory inputs decreased in patients with hearing loss. Hence, the integrating auditory and visual sensory cannot be combined completely. Although the transmission rate of the auditory sense input was approximately normal when the hearing aid was prescribed. Thus, it can be concluded that the processing delay in the hearing aid circuit is insufficient to disrupt the integration of auditory and visual information.

• 한국소음진동공학회논문집
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• 제17권9호
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• pp.813-818
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• 2007

This study aims to know the effect of road traffic noise perception when the visual and aural information is added in a laboratory experiment. ME (magnitude estimation) and SD (semantic differential method) evaluation on the effect of visual and aural effect were carried out by 43 university students. As the result, up to 10 % of psychological reduction effect was shown under the 65 dB(A). As the noise level, it was analyzed that the vision affected about 7 dB(A) and sound affected 5 dB(A). However, if these two are given simultaneously, mainly sound affects to reduce the annoyance of noise and the vision next. Compared with the urban central circumstances, this effect (2 dB(A) under 65 dB(A) noise) was shown smaller than field test.

• International Journal of Contents
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• 제16권4호
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• pp.68-77
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• 2020

VR (Virtual Reality) contents make the audience perceive virtual space as real through the virtual Z axis which creates a space that could not be created in 2D due to the space between the eyes of the audience. This visual change has led to the need for technological changes to sound and sound sources inserted into VR contents. However, studies to increase immersion in VR contents are still more focused on scientific and visual fields. This is because composing and producing VR sounds require professional views in two areas: sound-based engineering and computer-based interactive sound engineering. Sound-based engineering is difficult to reflect changes in user interaction or time and space by directing the sound effects, script sound, and background music according to the storyboard organized by the director. However, it has the advantage of producing the sound effects, script sound, and background music in one track and not having to go through the coding phase. Computer-based interactive sound engineering, on the other hand, is produced in different files, including the sound effects, script sound, and background music. It can increase immersion by reflecting user interaction or time and space, but it can also suffer from noise cancelling and sound collisions. Therefore in this study, the following methods were devised and utilized to produce sound for VR contents called "A Midsummer Night" so as to take advantage of each sound-making technology. First, the storyboard is analyzed according to the user's interaction. It is to analyze sound effects, script sound, and background music which is required according to user interaction. Second, the sounds are classified and analyzed as 'simultaneous sound' and 'individual sound'. Thirdly, work on interaction coding for sound effects, script sound, and background music that were produced from the simultaneous sound and individual time sound categories is done. Then, the contents are completed by applying the sound to the video. By going through the process, sound quality inhibitors such as noise cancelling can be removed while allowing sound production that fits to user interaction and time and space.

• 디자인학연구
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• 제16권2호
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• pp.15-22
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• 2003

애니메이션은 시각적 요소(visual element)와 청각적 요소(audio element)로 구성된다. 청각적 요소인 음향(sound)에는 대사(dialogue)와 음향효과(sound effects)와 음악이 있다. 애니메이션에서 청각적 요소는 시각적 요소의 부가적인 위치를 점한다고 하나 결코 그 역할과 의미는 적지 않다. 본 연구는 애니메이션의 이론적 기틀을 마련하여 단순히 오락물로써만이 아니라 예술작품으로써 애니메이션을 영상 미학적으로 승화시킬 수 있을 것이다. 음향은 애니메이션의 하위텍스트로서의 연상 작용을 위해 사용될 수 있다. 연기의 부속물로서, 라이트모티브(leitmotif)를 위해, 반어적 표현을 위하여, 성격화를 위해, 지역과 민족의 표현을 위하여 그리고 시간의 변화를 위해 음향이 연상 작용을 한다. 따라서 이러한 내용들을 애니메이션인 드림웍스사의 슈렉(Shrek)과 디즈니사의 몬스터 주식회사(Monsters Inc.)를 통해 비교 분석하여 실제 애니메이션의 제작시에 음향을 적절히 사용할 수 있도록 한다 또한 음향의 연상의 활용방안을 찾아보고, 이를 통해 영상 표현의 방법을 다양화하여 미학의 질적 수준을 향상시키는 이론적인 바탕이 되도록 한다.

• Educational Technology International
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• 제13권1호
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• pp.101-144
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• 2012

Students mostly precede their learning without any direct support of instructor in e-learning and mobile educational environment. Many useful strategies and tools to facilitate self-regulated learning behaviors in e-learning environment have been introduced, yet, the limit has been reached by only suggesting self-regulated strategies with visual information in the most researches. Accordingly, this research is intent to propose the sound design strategies that facilitate learner's self-regulated learning behaviors in mobile learning environment. To achieve the objective of the research, two research questions are presented. First, what are the sound design strategies that facilitate the self -regulated learning behaviors in mobile learning environment?. Second, what are the results of evaluating the developed sound design strategies in terms of facilitating self-regulated learning behaviors?. To solve these research questions, the literature reviews on characteristics of mobile learning, concepts and features of self-regulated learning and sound were done to establish the sound design strategies. Through formative research method targeting instructional designers, sound design strategies were modified and supplemented. The research to validate these was performed and to verify the effect of the derived sound design strategies, the usability test aimed at instructional designer and learners was conducted. The final sound design strategies through this research process were six general design strategies and the sixteen detailed strategies. This research is meaningful because this offers the basic research on sound information design which has been lacking and help upgrade the upper limit of instructional design which mainly focused on visual information in mobile learning environment that shows information in a small screen.

• 문화기술의 융합
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• 제8권5호
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• pp.171-176
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• 2022

본고는 20세기 중반 이후 펼쳐진 상호학제적인 융합적 예술실천의 핵심적 유형인 사운드아트 큐레이팅이 가지는 역사적 의미와 가치를 고찰한다. 이에 '사운드아트'의 시작에서 현재까지의 발전적 과정을 정리하되, '사운드'라는 재료가 기능한 시각예술의 맥락을 시대 순으로 살피고 주요한 사운드아트 전시의 큐레이팅 사례를 중심으로 '사운드'가 제공한 미학적 체험의 파장과 동시대적 의의를 분석하고자 한다. 이를 위하여 본문은 세 개의 섹션으로 구분하여 전개한다. 첫 번째 섹션에서는 19세기 후반 미래파와 다다이스트의 사운드 시에 뒤이어 1913년 마르셀 뒤샹이 음악악보를 시각예술과 접목했던 시도 등이 아방가르드 작곡가 존 케이지의 시각적 음악에도 깊은 영향을 끼쳤음을 인식한다. 이에 이러한 배경이 '사운드'를 새로운 미디어로서 다루는 전시의 등장을 야기했음을 설명한다. 두 번째 섹션에서는 1970년대 들어서면서 예술적 미디어로서의 사운드가 시각성이 지배하는 전시공간과의 비판적 관계성을 성찰하게 하는 역할을 하게 되었음을 설명한다. 세 번째 섹션에서는 1980년대 이후 현재까지 관객이 전시장의 조직 내에서 마치 하나의 시각적 오브제처럼 사운드를 체험하도록 하는 큐레토리얼 방법론을 분석한다. 본고는 이러한 과정을 통해 전시장에서의 지각적 구조를 관습화 했던 역사적 실천을 비평적으로 대하며 동시대 예술현장에서 생명력 넘치는 사운드의 역할을 고민한 사운드아트 큐레이팅의 유의미한 방법론을 사유해 본다.

• 한국소음진동공학회논문집
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• 제17권4호
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• pp.289-297
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• 2007

SAFRS is the system designed to reproduce the harmonic sound into the space according to the environmental factors. Here the harmonic sound means the sound which judged by the subjective tests, and the methods were suggested in the former studies. In this research, SAFRS was applied into the Square of D University to evaluate and verify the effectiveness of the system and a few evaluations were carried out as follows; 1) sound perception, frequency, volume and harmony with the space, 2) images of the square and acoustic environment and 3) acoustic environment with existing sounds, fountain sound, produced sound by SAFRS, and both of them respectively. The results can be summarized as follows; 1) According to the evaluation on acoustic environment, no relationships were shown between the cognition of sounds produced by SAFRS and the frequency or volume, but inverse proportion was shown between the volume and special harmony. 2) As the result of image evaluation. the relationship between space and sound image was shown proportional only except the evaluation on main road at night time, it means that the sound proposal with the visual contents matching with the sounds would be more effective than the proposal of sound only. 3) Results of evaluation on acoustic environment showed that the cognition effect at night time was shown higher than that of day time when only the acoustic element was given and the effect was increased when the visual elements matches with the acoustic elements if both of them were given. It confirmed the harmony between visual and acoustic elements was very important.