• Archives of design research
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• v.19 no.1 s.63
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• pp.181-190
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• 2006

This study began with an assumption that virtual museum exhibitions will continue to be created in the future and more knowledge is required about designing effective virtual exhibit designs. This study explored the relationship between virtual exhibitions and visitor's opinions following the viewing of the virtual exhibit in order to determine the components of a well-constructed virtual exhibit design. To address the research problem, this study explored two aspects of virtual exhibit design: 1) what are the components of a well-constructed virtual exhibit, 2) how does viewing the virtual exhibit change visitors' opinions about both physical and virtual museum experiences. The methodology of the study employed surveys, interviews and observations as instruments of data collection. Twenty-five participants were given a survey prior to their viewing of the on-line exhibit, then they were given the opportunity to view the web-site and finally surveyed regarding their opinions. From the 25 participants, six were selected for observation to record behavior exhibited while they viewed the site. In addition, five were interviewed for a better understanding of their responses to various aspects of the virtual exhibit experiences. Data from the surveys was tabulated for descriptive percentages in order to identify numerical patterns of relationship. Observation data was analyzed for simple frequencies in categories of responses and interview data was tape recorded and transcribed into text files. Based on study results, recommendations were made for the future role of interior design in virtual space that stands independent from a physical building and resides only on the Internet.

• Trans-
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• v.9
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• pp.93-122
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• 2020

I intended to establish Augmented Reality(AR) Museum of 3D Cyber Space where artists and graphic designers can freely create in user integrated environment. This study is aimed at building a sufficient and integrated production environment for artists and graphic designers who utilize three-dimensional simulation methods in integrated development environment(IDE). This study intends to build a 3D simulation engine and a creation module of augment reality of 3D cyber space in Android platform to help artists and graphic designers to freely perform their creation in IDE. Based on these designs, I produced exhibition rooms of National Museum of Contemporary Art in 3D virtual space in which artists and graphic designers can put the graphics they have created on display, conducted a user survey and conducted tasking to an Android smartphone.

• Proceedings of the Korea Society for Industrial Systems Conference
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• 1999.05a
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• pp.118-134
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• 1999

가상 현실 미술관에서 시각적 요소인 해상도는 참여자에게 매우 중요한 인공현실감을 제공하며 실제 세계와의 상호 교류의 차이의 극복 요소로서 매우 중요한 부분으로 볼 수 있다. 이러한 시각적 측면을 중심으로 가상현실 전시관에서 관람객과 전시물 사이의 거리에 따른 감상 위치를 분석하고, avatar의 이동에 따른 원근법을 적용하여 해상도를 동적으로 변화시킨다. 특히, 가상 공간의 이동 예측 및 거리 측정에 따른 해상도의 변화는 현장감 향상에 도움을 준다.

• Journal of Korea Game Society
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• v.21 no.6
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• pp.63-74
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• 2021

Metaverse fits well with the lifestyle of MZ generation who carries smart-phones at all times and value their identity. This study proposes a planning model that develops Minhwa, traditional Korean culture and arts, into art galleries on Zepeto, a metaverse platform. To this end, the characteristics of the metaverse platform, open world, sandbox, creator economy, and avatar, are analyzed and developed into a planning to open a Minhwa museum on Zepeto. While reinterpreting traditional Korean art in a modern way, it is worth researching as a metaverse planning and development model suitable for the new-tro sensibility of the MZ generation.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1567-1576
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• 2017

This study presented the direction of cultural welfare based on ICT. For this purpose, it examined the direction of government policies and the status of cultural welfare services and it analyzed art galleries and museums focusing on experiences of cultural welfare services in a home and abroad. As a result, the museum has many changes depending on the media environment, unlike art gallery. In the age of media 1.0, the audience has experienced in real museums. As time goes by, in the age of media 2.0, the customer has opportunity to experience in virtual museums. It seems that there are many differences factor of a media environment, target (exhibits), accessibility, consumption and information. Finally, this study suggested the environmental change factors of Korean ICT cultural welfare service through this. In the future, it will be necessary to continue research on the possibility of expanding cultural welfare services for cultural enjoyment to the underprivileged.

• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.728-737
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• 2022

Metaverse is gaining worldwide interest, and related industries are developing rapidly. In the field of education, students' interest in metaverse is increasing, and education on metaverse-related technologies and services is required. However, since metaverse classes in universities mainly consist of theoretical education and domestic/overseas case analysis education, practical education that can apply metaverse technology to the real world is also necessary. In the cultural field, event contents such as entrance ceremonies and exhibitions are mainly produced for metaverse contents, and it is also necessary to study metaverse contents that can be sustained for a long time by people visiting regularly. In this study, educational contents that can link cultural participation in the real world with cultural participation in the metaverse were studied using the local cultural space as a medium to produce sustainable metaverse contents. The 'Metaverse Moonshin Art Museum commemorating the 100th anniversary of Moonshin's birth' program reinterpreted the real world of Changwon Moonshin Art Museum into a virtual world by collaborating with students on the Roblox. The 'Expanded Reality Moonshin Art Museum' program created an expanded Metaverse art museum that transcends time by augmenting the deceased Moonshin artist in the museum's exhibition space using HoloLens. For students studying culture-related majors, an educational program that combines metaverse education and practical training was conducted, and it is planned to be supplemented and used as a teaching plan.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.979-986
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• 2022

In this study, the virtual exhibition using 3D architectural space was analyzed in terms of the viewer's experience. For this purpose, the analysis items of the virtual architectural space include whether the actual architectural space is reproduced, the introduction of surreal elements, the degree of freedom of movement and circulation, the level of photorealism of spatial expression, the level of reproduction of the exhibits and information provision method, and the interaction with other participants. Six virtual exhibition projects designed by a well-known architect were selected and analyzed. Three directions were found through the analysis. First, even when designing a virtual exhibition space with a high degree of freedom, there is a tendency to present a familiar architectural environment. Second, the current method of creating a virtual architectural space is that the method using a 360-degree rendering image and the method using a game engine coexist with pros and cons. Third, the interaction between participants in the virtual exhibition is implemented only by using a game engine. It is expected that the virtual space production environment using the game engine to be developed will become more advantageous in the future.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1257-1264
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• 2009

In regard to media contents of digital heritage reconstruction, they are actively produced in museums, art galleries and special exhibitions. However, there is no concrete guideline for the productions and the pipelines are not systematic either. This makes the process ineffective regarding time and cost. Media contents production of digital heritage reconstruction might seem similar to film or documentary production, but it is important to construct its specific pipeline based on its specific purpose. The digital Heritage group in research center for culture technology of KAIST produced media contents which digitally reconstructed various heritages such as Persepolis, Iranian remains, with National museum of Korea, Sukgulam, and Hue, an ancient city in Vietnam, with Cultural heritage administration of Korea. From these experiences and case studies, this paper will present a pipeline model for efficient production.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.553-563
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• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.731-737
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• 2024

This study conducted a quantitative research on the artistic perception and acceptance of value among buyers of commodified digital art known as NFT artworks. NFTs, digital assets, have shown rapid growth as investment products, but recently there has been a trend of declining value. However, NFT art, characterized by uniqueness and scarcity, continues to undergo continuous development to create new opportunities and values. Nonetheless, there are also negative opinions regarding NFT art itself as a form of technological art, as well as concerns about copyright disputes and fears of a bubble due to the conversion of physical artworks into NFTs. Predicting the value of artworks targeting specific demographics is difficult, and the value of innovative art such as NFT art, which changes along with the fluctuation of cryptocurrency values, is even more challenging to predict. Therefore, through research on the buyers who play a crucial role in the growth and development of this new form of art, the study aims to contribute to the expansion of NFT art.