• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.55-62
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• 2007

정보통신 기술과 컴퓨터의 급속한 발달은 과거에 불가능했던 많은 일들을 가능하게 하였다. 디지털 기술의 발전은 기존의 추상적인 것을 구체적으로 체험 가능한 것으로 발전시켰으며, 이를 통해 인간은 경험을 확장 시킬 수 있게 되었다. 즉, 인간의 체험, 인식, 가치, 행위가 가상의 공간으로 무한하게 확장될 수 있기 때문이다. 이러한 배경 속에서 현대 사람들은 체험 공간이 현실 세계와는 다른 비일상적 체험과 욕구실현을 구현할 수 있는 공간이 되기를 원한다. 이에 따라서 체험 공간의 논의가 과거의 시각적 정보전달만을 위한 체험 공간이 아닌 정보와 흥미, 체험을 동시에 줄 수 있는 노력들이 요구, 진행되고 있다. 체험 공간에 있어서 엔터테인먼트 적인 요소가 효과적인 방법론으로 제시되고 있지만, 아직도 시청각적 흥미위주의 직선적인 공간의 이야기로 관람자를 일회적인 관람에서 그치게 하고 있다. 매체를 나열식으로 던져 준다고 해서 사람들이 흥미를 느끼거나 몰입을 경험하지는 못한다. 그러기 위해선 인터렉티브 스토리텔링(Interactive Storytelling)의 인터렉티비티한 요소가 체험 공간에서 효과적일 수 있다. 인터렉티비티는 인터렉티브 스토리텔링의 특징 중 하나로, 이와 같은 인터렉티비티 요소들은 관람자에게 다양한 선택과 통제의 기회를 주기 때문이다. 이에 따라서 체험 공간 속에서 관람자는 스스로 매체와 매체간의 반복과 조합을 통해 관람자 개개인이 새로운 시나리오를 쓸 수 있게 되고 체험 공간은 유동적인 공간이 될 수 있게 된다. 따라서 본 연구는 체험 공간이 관람자 스스로가 만들어가는 공간이 되고, 지각적 체험과 정신적 체험까지 경험할 수 있는 체험의 장이 될 수 있도록 인터렉티브 스토리텔링의 가치를 재해석하고자 하였다. 이러한 인터렉티브 스토리텔링이 공간 속에서 의미를 획득할 수 있는지에 대한 연구를 진행하고자 하였으며, 이를 위해 기존의 체험 공간에 대한 연구와 인터렉티브 스토리텔링의 기존 사례를 선행하였다. 이러한 과정을 통해 인터렉티브 스토리텔링이 체험 공간 안에서 사람들에게 일회적인 경험을 주는 것이 아닌 사람들이 직접 그 공간의 스토리를 만들 수 있는 새로운 체험 공간의 가능성을 가지고 있음을 발견하였다. 이에 따라서 월드컵이 열리는 대표적인 도시인 상암동에 한국 소프트웨어진흥원이 주관하여 건설되는 ‘상암 디지털 파빌리온’을 대상으로 인터렉티브 스토리텔링을 기반으로 한 체험공간 디자인을 작품 형태로 기획 되었으며, 기본적인 시나리오 컨셉을 제시하고 공간의 구조도, 체험 과정(Process)등이 제시된다. 이러한 연구는 기존 체험 공간이 직선적인 내러티브에서 벗어나 체험 공간 속 협업의 가능성을 열어주어 새로운 소통의 장을 마련해 준다는 긍정적인 효과를 기대할 수 있다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2017.05a
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• pp.611-612
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• 2017

Recently, exhibition space has incorporated a format in which visual contents providers and viewers can directly or indirectly experience the space with a sense of immersion. By offering more extended spatiality within a limited space, such exhibition design is now transcending physical limitations and expanding to visual reality; as such, exhibition design demands the implementation of not only visual elements but information services generated between people, contents, and objects. To this end, this study examines the changes and the development direction of exhibition techniques that use Internet of Things (IoT), which is a representation of environmental change in exhibition design of our times; it also explores the various forms of change based on the perception of the visual contents (visual exhibits) users during the act of accumulating and using information through the smartphone communication of viewers who experience the space through IoT. Finally, the study conducts a case study on the relationship between a regular exhibition and an exhibition design that makes use of IoT, in order to propose an exhibition design with which to verify whether the viewers are immersed in and experience a sense of realism from visual contents by identifying the viewers' visual and emotional changes.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.89-94
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• 2006

디지털 기술이 전시환경에 도입되면서 다양한 매체를 통해 전시물의 정보를 전달하게 되었다. 그리고 관람자는 단순히 보는 전시에서 적극적으로 전시관람에 참여하고 전시물의 정보를 활용하고자 하는 욕구가 증대 되고있다. 이에 따라 전시환경은 이동하는 관람자를 위해 인터넷과, 모바일 기기를 활용하여 효과적으로 관람체험을 지원하고, 정보를 제공하기 위한 서비스 연구가 중요해 졌다. 따라서 본 연구에서는 디지털 네트워크 환경으로 변화하는 전시 환경과 전시관람을 지원하는 서비스 연구 현황을 이해하기 위해 문헌과 사례조사를 통해 살펴보았다. 그리고 관람자들의 관람 상황과 관람 유형을 파악하기 위해 관람자들의 전시 관람 행동을 관찰하였다. 관찰내용을 분석하여 관람자들의 관람 행동에 따른 관람 유형 및 키워드를 도출하였다. 이를 기반으로 전시관람 시 발생하는 관람자들의 니즈와 문제점을 심층인터뷰를 통해 추출하였다. 관람자들의 니즈와 문제점은 관람자가 전시관을 이동하며 관람하는 상황에서 인터페이스를 통해 해결할 수 있는 요소를 중심으로 전시관람 지원 서비스 요소를 제안하였다. 제안한 서비스 요소는 전시물을 선택하여 관람할 때 전시물과 공간과의 관계를 인터페이스를 통해 파악하고 관람시간을 확인하며 관람하는 해결방안을 제시하였다. 이를 박물관의 전시환경을 사례로 모바일 PDA 에 적용하였으며 사용 시나리오를 통해 제안한 서비스의 유용성과 활용 가능성을 살펴보았다.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.11-12
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• 2017

고구려 고분벽화는 유네스코 세계문화유산이지만 남북한의 정치적 이데올로기로 말미암아 지금은 현장 접근이 불가능하다. 이에 가상현실 기술을 이용, 실제와 같은 체험 콘텐츠로 제작하였다. 이것은 인터렉티브한 가상현실을 체험할 수 있도록 사용자가 자유자재로 공간을 걸어다닐 수 있는 워킹형 가상현실(Walking VR) 기술을 적용한 것이다. 이는 관람자가 HTC-Vive의 컨트롤러를 이용하여 가고자하는 고구려 고분속 여러 벽화를 자유자재로 선택 가능한 인터렉티브 체험도 가능한 디지털 헤리티지형 VR콘텐츠다.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.297-302
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• 2022

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.91-102
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• 2012

Generally today's culture and the arts industry has been focusing more on economic value than the arts. Therefore this paper will elucidate the meaning of the culture and the arts can be a break though which can only include commercial and economic values but transcend its values ultimately. First of all, this paper will suggest an advanced 3D stereoscopic images by analysis of examples and environments of realistic media arts. Looking into the changes of related technologies and market environments, the motion-recognition technology, as seem in SF film "Minority report", has become a feasible technology. In the past, 3D stereoscopic images were shown in the theme park theatre and exhibition halls for group viewing. but recent 3D TV and display devices have changed those environments to personal. Since domestic researches of realistic media art has been little, this paper will analyze them respecting to three broad classifications. The results are : Firstly, in CAVE method, more impact capabilities of spectators are expected that they can manipulate interactive interfaces freely and the physical movements of spectators can operate interactively. Secondly, inter-network communications and expansion of viewers' perceptions are predicted by way of HMD method, sensor suites and communication equipments. Thirdly, combinations of HMD and motion tracking utilization is foreseen. With the convergent usages of these three features, we can prospect the possibilities of interactive 4D that spectators wearing 3D stereoscopic display devices can experience and make their own 3D stereoscopic images actively at the point of their views.

• KIPS Transactions on Software and Data Engineering
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• v.5 no.9
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• pp.441-450
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• 2016

In this study, we investigate the effect of the level of cognitive affordance which explains an explicit interaction method on the interest of viewers. Viewer's recognition of the interaction method is associated with cognitive affordance as a matter of visual-perceptual exposure of the input device and viewer's cognition of it. The final goal of the research on affordance is to enhance the audience participation rather than the smooth interation. Many interactive media artworks have been designed with hiding the explicit explanation to the artwork due to worry that the explicit explanation may also hinder the induction of impressions leading the viewer to an aesthetic experience and the retainment of interest. In this context, we set up two hypotheses for study on cognitive affordance. First, the more explicit the explanation of interaction method is, the higher the viewer' understanding of interaction method is. Second, the more explicit the explanation of interaction method is, the lower the interest of the viewer is. An interactive media art work was manufactured with three versions which vary in the degree of visual-perceptual information suggestion and we analyzed the participation and interest level of audience in each version. As a result of the experiments, the version with high explicitness of interaction was found to have long time spent on watching and high participation and interest of viewers. On the contrary, the version with an unexplicit interaction method was found to have low interest and satisfaction of viewers. Therefore, regarding usability, the hypothesis that a more explicit explanation of interaction would lower the curiosity and interest in exploration of the viewer was dismissed. It was confirmed that improvement of cognitive affordance raised the interaction of the work of art and interest of the viewer in the proposed interactive content. This study implies that interactive media art work should be designed in view of that the interaction and interest of audience can be lowered when cognitive affordance is low.

• Management & Information Systems Review
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• v.28 no.4
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• pp.253-291
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• 2009

Expo, as one of the types of convention, is defined as the exhibition of which primary object is the public enlightenment. It displays lots of exhibits from countries around the world created or produced by advanced technologies, but its priority is actually on suggesting value of product, usability and creativity, not on seeking for purchasers of those products. Thus, the world's event Expo can be deemed as the place for educating visitors with various features in both current and future generation in terms of "experience". This study intends to grasp the attributes and elements of the host cities and to look into the formation of city image after being a spectator and the relation for suggesting systematic and rational measures on planning and promoting the Expo. For the foregoing measures, this study suggests effective management measures for Expo spectators by disclosing attributes of host cities, relationship with the formation of city images, and satisfactory relationship among Expo spectators. For achieving the purpose of this study, the relationship between spectators who visited the 'Cheonan 2009 Wellbeing Food Expo' and each element on the basis of the measuring devices deducted through a preparatory research. Based on the results deducted through positive analysis, it intends to expect qualitative improvement of 'Cheonan 2009 Wellbeing Food Expo' and to suggest measures for elevating satisfaction level of Expo spectators by displaying alternative elements for spectators' choice at the Expo and gives continuous suggestion on managing spectators.

• Management & Information Systems Review
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• v.33 no.2
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• pp.205-223
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• 2014

A study of the impact of constraint factors of festival participation and negotiation efforts of festival participant on festival satisfaction. This study reviewed earlier studies about festival and verified an impact of the leisure constraint factors of festival participant and the negotiation efforts on festival satisfaction by considering previous literature. Hypotheses based on literature reviews were analyzed emprically. According to the result of study, in aspect of the relationship between constraint factors of festival participation(intrapersonal constraint, interpersonal constraint, structural constraint) and negotiation efforts of festival participation, both interpersonal constraint and structural constraint have positive influence on constraint negotiation efforts. However, intrapersonal constraint factor influenced negatively. Also, the results revealed that in aspect of the relationship among festival participation, festival experience recognition, and satisfaction, festival participation have positive influence on cognitive and emotional experience and finally satisfaction.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.372-380
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• 2012

This study investigates the examples of memorials in which participants can communicate and interact. Memorials as an urban public space provide various information and experiences to the visitors. The purpose of this study is to investigate the types of participants' experience and the characteristics of memorial space. The 9 examples of the memorials are selected and analyzed by the experience type of participants. This study summarizes the characteristics of spatial representation of memorials as follow; first, the interactions and communications of participants are main considerations in designing memorials. This study defines three types of participants' experience in memorials as educational, emotional and daily urban experiences. Second, the memorial space providing educational experience has narrative characteristics which are explanatory, representational, hierarchical and figurative. Memorials represent historical events and individuals in figurative ways. Participants in memorials learn the event, mourn for the dead and cure the grief through walking the guided route. Third, the memorial space providing emotional experience is indeterminate and open-ended characteristics which are contemplative, symbolic, and abstractive. While participants try to find the way to walk through and understand the meaning of the abstract forms by themselves, they interface the event and the victims in private and individual ways. Fourth, the memorial space providing daily urban experience is the familiar urban facilities embedded remembrance such as memorial square, bridge and fountain. Symbolism of memorials and effectiveness of urban facilities are engaged into the memorial design. They have functional, participatory, interactive and recreational characteristics. People experience the memorials involuntarily and casually during their daily lives. The memorials with urban facilities can be related to the present and the future of the city as well as the past of the city.