• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.97-102
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• 2020

With the advancement of technology, there are almost no constraints on expression in virtual reality (VR) art; however, it still has some limitations. VR artists can be largely classified into two groups in terms of style. The first group is artists who create their works as a live performance. In this case, a major limitation is that the artist cannot see how the audience reacts to the work because he/she wears a VR device while performing, and the audience cannot fully experience the work, since they view it only on-screen without any VR devices. This problem can be solved if all members of the audience wear VR devices; however, that requires astronomical costs and brings about another problem related to device management. If the price of VR devices decreases as technology develops, it may help solve this problem. The second group is exhibition artists who regularly display their works online. In this case, the limitation is that their work using VR remains only in the virtual digital space. In this case, a solution may be creating space in exhibition halls, and providing VR devices to audience members in existing art exhibitions.

• Cartoon and Animation Studies
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• s.31
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• pp.209-226
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• 2013

With rapidly changing multimedia environment, various artistic changes and digitalized up-to-date social infra, urban environment construction based on culture contents has been activated. The large image in front of urban building that is expressed as media-façade, increasing rapidly in a recent period, is not a new thing at all. In addition, IT technology molten in city space is testing the possibility of new media through the meeting with architecture. However, unlike its infra enlargement, the definition about media-façade is not clear so the system was constructed in a level of night lightscape or outdoor image advertisement. The purpose of this guideline is the regulation from the negative aspect rather than the possibility of various visual, artistic media expressions. Therefore, it could not show essential concept of media-façade. Moreover, most of companies or building owners focus on short-term profit and marketing effect rather than prepare various contents so they can not use constructed infra properly. After all, in many cases, they discolor the meaning of media-façade. This paper is a pilot study to grasp the current definition of media-façade to construct right guideline of media-façade. On the basis of this study, it will prepare academic definition of media-façade and construct the guideline for design evaluation.

• Journal of the Korea Convergence Society
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• v.12 no.10
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• pp.189-201
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• 2021

The art of dynamic images has experienced three development stages, including experimental films, recording art, and new media image. By introducing all kinds of new materials, new media to the art, and the art of dynamic images has created more freedom for art creation. With the development of digital information technology, dynamic image works have put forward an increasingly high requirement of visual art. The combination of dynamic images and visual illusion can give rise to different forms and expression methods, thus endowing artworks with more vigor. This paper provides an overview by sorting out the lineage and development of dynamic images in the background, as well as understanding the application and performance of contrasted visual illusion. Based on the understanding of the characteristics of visual illusion, we discuss the new characteristics of applying the theory of visual illusion to new media dynamic images in relation to the technical approach of dynamic images. Through the analysis of specific works of Telematic Vision, we search for its reasonable combination and find the appropriate technical means of implementation. We discuss how to use digital multimedia technology and spatial optical illusion to make the design more novel and impactful, and consider how the combination of digital dynamic image technology and visual illusion should be interpreted and applied.

• Archives of design research
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• v.17 no.2
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• pp.393-402
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• 2004

The mobile advertisement has varied on lifestyle of people, who live aninformation-oriented society with portable equipment such as web phone and PDA(Personal Digital Assistant). Also, the advertising has expended mobile techniques and its application field unpredictably. The intrinsic characteristic of misdistribution, reach, and convenience in mobile advertisement add up the capacity of a location, information and individualize. This market condition leads the basic audio focused formal mobile advertisement to the new mobile Internet environment with an additional able of data communication. Moreover, the type of SMS (Short Message Service), Graphic, Wep Push, and ridchmedia, which based on music, basic graphic, voice, and letters transfer by mobile terminal and the mobile character is present inevitably correlation with pixel art and animation in 2D(Two Dimensions) techniques. Thus, this research appoints the importance and its role of mobile advertisement that is core of the business marketing in new media era. To activate mobile market, the mobile companies classify the characteristic of consumers with developed commercial use of mobile character and research their behavior to meet optimal mobile character in business.

• 한국HCI학회:학술대회논문집
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• 2007.02a
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• pp.1069-1074
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• 2007

청각장애인이 PC환경에서 영화, 방송, 애니메이션 등의 동영상 콘텐츠를 이용할 때 장애의 정도에 따라 콘텐츠의 접근성에 있어서 시각적 수용 이외의 부분적 장애가 발생한다. 이러한 장애의 극복을 위해 수화 애니메이션이나 독화 교육과 같은 청각장애인의 정보 접근성 향상을 위한 콘텐츠와 기술이 개발된 사례가 있었으나 다소 한계점을 가지고 있다. 따라서 본 논문에서는 현대 뉴미디어 예술 작품의 예술적 표현 방법을 구성요소로서 추출하여, 기술과 감성의 조화가 어우러진 독창적인 콘텐츠를 생산할 수 있는 기술을 개발함으로써 PC환경에서 청각장애인의 동영상 콘텐츠에 대한 접근성 향상 방법을 추출하고, 실질적으로 청각적 효과의 시각적 변환 인터페이스 개발 및 이미지 캡션 생성 소프트웨어 개발을 통해 청각장애인의 동영상 콘텐츠 사용성을 극대화시킬 수 있는 방법론을 제시하고자 한다. 본 논문에서는 첫째, 청각장애인의 동영상 콘텐츠 접근성 분석, 둘째, 미디어아트 작품의 선별적 분석 및 유동요소 추출, 셋째, 인터페이스 및 콘텐츠 제작의 순서로 단계별 방법론을 제시하고 있다. 이 세번 째 단계에서 이미지 캡션 생성 소프트웨어가 개발되고, 비트맵 아이콘 형태의 이미지 캡션 콘텐츠가 생성된다. 개발한 이미지 캡션 생성 소프트웨어는 사용성에 입각한 일상의 언어적 요소와 예술 작품으로부터 추출한 청각 요소의 시각적요소로의 전환을 위한 인터페이스인 것이다. 이러한 기술의 개발은 기술적 측면으로는 청각장애인의 다양한 웹콘텐츠 접근 장애를 개선하는 독창적인 인터페이스 추출 환경을 확립하여 응용영역을 확대하고, 공학적으로 단언된 기술 영역을 콘텐츠 개발 기술이라는 새로운 영역으로 확장함으로써 간학제적 시도를 통한 기술영역을 유기적으로 확대하며, 문자와 오디오를 이미지와 시각적 효과로 전환하여 다각적인 미디어의 교차 활용 방안을 제시하여 콘텐츠를 형상화시키는 기술을 활성화 시키는 효과를 거둘 수 있다. 또한 청각장애인의 접근성 개선이라는 한정된 영역을 뛰어넘어 국가간 언어적인 장벽을 초월할 수 있는 다각적인 부가 동영상 콘텐츠에 대한 시도, 접근, 생산을 통해 글로벌 시대에 부응하는 새로운 방법론으로 발전 할 수 있다.

• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.508-518
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• 2021

Recently as a result of covid 19, it has emphasis on the importance of non-contact. VR content has been attracting attention as an alternative to visual arts, media art, new media exhibitions and performances with limited offline activities. Although interest in 360 VR video contents such as VR contents for exhibitions and performances is increasing, research on immersion and satisfaction is focused on games and animation VR contents. In this paper, it verified the effect of the difference in the position and height of the VR camera in exhibitions and performances on the user's presence and satisfaction. For this experiment, the presence and satisfaction were measured after experiencing the VR contents of the convergence exhibition and performance filmed at different locations and heights. As a result of the experiment, the difference of VR camera's position had a significant effect on presence and satisfaction, the difference of VR camera's height had a significant effect only Realistic immersion of the presence.

• Journal of Service Research and Studies
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• v.13 no.1
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• pp.108-126
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• 2023

This study explored the sustainability of a blockchain-based cultural art performance video platform through the construction of Gyeonggi Art On, a new media art broadcasting station in Gyeonggi-do. In addition, the technical limitations of video content transaction using block chain, legal and institutional issues, and the protection of personal information and intellectual property rights were reviewed. As for the research method, participatory observation methods such as in-depth interviews with developers and operators and participation in meetings were conducted. The researcher participated in and observed the entire development process, including designing and developing blockchain nodes, smart contracts, APIs, UI/UX, and testing interworking between blockchain and content distribution services. Research Question 1: The results of the study on 'Which technology model is suitable for a blockchain-based performance video content distribution public platform?' are as follows. 1) The blockchain type suitable for the public platform for distribution of art performance video contents based on the blockchain is the private type that can be intervened only when the blockchain manager directly invites it. 2) In public platforms such as Gyeonggi ArtOn, among the copyright management model, which is an art based on NFT issuance, and the BC token and cloud-based content distribution model, the model that provides content to external demand organizations through API and uses K-token for fee settlement is suitable. 3) For public platform initial services such as Gyeonggi ArtOn, a closed blockchain that provides services only to users who have been granted the right to use content is suitable. Research question 2: What legal and institutional problems should be reviewed when operating a blockchain-based performance video distribution public platform? The results of the study are as follows. 1) Blockchain-based smart contracts have a party eligibility problem due to the nature of blockchain technology in which the identities of transaction parties may not be revealed. 2) When a security incident occurs in the block chain, it is difficult to recover the loss because it is unclear how to compensate or remedy the user's loss. 3) The concept of default cannot be applied to smart contracts, and even if the obligations under the smart contract have already been fulfilled, the possibility of incomplete performance must be reviewed.