• Proceedings of the Korean Society of Computer Information Conference
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• 2013.01a
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• pp.215-218
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• 2013

본 논문에서는 루브르박물관, 미국자연사박물관, 대영박물관, 아시아문명박물관, 국립미술관, 빌바오 구겐하임스마트폰 애플리케이션에 대한 사용자 평가를 통해 정보서비스에 대한 만족도를 비교하고, 사용성과 기능적 특성간의 상관관계를 검증했다. 사용자 평가에 대한 종합결과와 정보서비스의 총점을 비교한 결과, 빌바오 구겐하임, 미국자연사박물관, 루브르박물관에 대한 만족도가 높게 평가되었다. 또한 사용성은 개인화적 특성, 비간섭적 특성, 동기부여, UX/UI, 연결완전성이 내재한 관람모형, 정보서비스 등 모든 요인과 유의미한 상관관계에 있었다. 본 연구를 통해 도출된 하나의 중요한 시사점은 박물관 스마트 폰 애플리케이션에 대한 만족도는 하드웨어나 기술의 적용보다는 콘텐츠와 관람객 사이에서 발생하는 인터랙션에 따라 좌우된다는 것이다.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.549-555
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• 2016

This paper tries to find the implications applied to art institutions of Korea by analyzing what the content and consequences of services of the Cleveland Museum of Art provided after the Internet of Things adoption in the theoretical perspectives strengthening service marketing through the Internet of Things increases visits and participation in the museum. For analysis, journal articles, statistics, and government press releases, news articles, web pages, web page articles are collected. The results are first, the application of digital and social media is positive in visit to the museum and monetization. Second, the introduction of the Internet of Things will enhance the museum's 'Education', 'Accessibility', 'Communications' services, as well as significantly increase on and offline participation by activating experience. Third, technical support from related companies with the support of local government funds is essential to build the system. Consequently, in order to enable the participation of the spectators in the galleries it is proposed aggressive adoption of such digital technology in domestic barren market of Internet of Things.

• Proceedings of the Korean Society of Computer Information Conference
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• 2018.07a
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• pp.474-477
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• 2018

최근 백화점, 편의점, 미술관 등 다양한 장소에서 비콘을 활용하여 매장 내의 고객에게 쿠폰을 제공하거나 관람객에게 작품 설명 등 서비스를 제공하고 있다. 본 논문에서는 비콘을 이용하여 악성코드를 배포했을 때의 위험성을 분석하고 비콘의 신호 캡처를 통하여 비콘의 정보를 파악하는 방법에 대해 연구하였다.

• Journal of the Korea Society of Computer and Information
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• v.27 no.11
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• pp.89-98
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• 2022

Using the extended technology acceptance model, this study aims to quantitatively analyze the user experience with the . In the case of Perceived Usefulness and Perceived Ease of Use, only limited detailed factors have significant impacts on the degree of satisfaction. The degree of satisfaction has positive correlations with the degree of immersion and the variables of Behavioral Intention to Use Metaverse. Although sophisticatedly remediates using digital technology to provide visitors with the sameness of exhibits, exhibition circulation and interaction method, the metaverse exhibition does not acquire the same value of the exhibition. In conclusion, cannot replace , however, it has the potential to offer learning usefulness to visitors with low accessibility to the art museum.

• Korea Science and Art Forum
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• v.35
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• pp.461-471
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• 2018

This study aims to determine the value of the willingness to pay(WTP) admission fees through surveying the level at which visitors to national science museums in Korea are willing to pay for admission fees. The determination helps objectively identify ways to substantially increase admission-based revenues, thereby enhancing managerial efficiency of national science museums. Using the contingent valuation method(CVM), we analyzed the WTP for admission fees of 250 visitors to Gwacheon National Science Museum. The statistical analysis revealed that the average amount of WTP was far higher than the current admission fees(4,000 won for adults and 2,000 won for children and adolescents). WTP of questionnaire respondents was normally distributed at the mean of 8,447 won for adult admission and 6,535 won for non-adult admission to Gwacheon National Science Museum. This result can be used as basic evidence to redetermine admission fees of national science museums and ultimately improve financial vitality.

• Trans-
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• v.9
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• pp.17-36
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• 2020

This study is aimed at discussing the possibility of content production, utilization and expansion, focusing on the exhibition case of Danwon Art Museum run by Ansan Cultural Foundation. In 1991, the Ministry of Culture, Sports and Tourism named Ansan as the City of Danwon since it is believed to be the hometown of Danwon Kim Hong-do (1745~?), a painter of the late Joseon Dynasty and a well-known master of genre painting. As a result, Ansan is making various efforts to utilize Danwon Kim Hong-do for its unique resource through internal and external business such as the creation of Danwon Sculpture Park, the operation of Danwon Art Museum, and the planning of Danwon Kim Hong-do Festival. However, the biggest problem with Ansan is that there are not many collections of Kim Hong-do. Ansan has owned a total of six works as of May this year: a deer and a boy, flowers and a bird, A view of clouds on the water, Daegwallyeong, Yeodongbin, A way to Singwangsa. Accordingly, Danwon Contents Center has set up a vision to systematically collect, preserve, and display various visual and artistic materials related to Kim Hong-do, offering high-quality information based on digital data. In other words, it is a complex cultural information agency of One-Source Multi-Use, which combines the functions of libraries, archives and art galleries so that visitors' desire is satisfied. It reflects the contemporary trend of overcoming the limitations of the ancient paintings and satisfying the role and function of the art museum. From the opening of the Danwon Contents Hall, the original work of Kim Hong-do has been interpreted and produced as media contents or recreated as a new form of art by modern artists. Exhibition using technologies such as touch screen and 'deep zoom' helps visitors to heighten their experience of the archives and get inside the world of the genius painter.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Journal of Intelligence and Information Systems
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• v.14 no.4
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• pp.47-68
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• 2008

The aim of this research is to develop a new business model using mobile RFID in exhibition spaces such as museums and art galleries. Using mobile RFID, the exhibition space is expected to be evolved from a simple media space only for the exhibition to an extended space integrating media, commerce and entertainment. This paper proposes a u-Exhibition business model and its scenario in the u-Exhibition space. We discuss the real-world issues for the implementation and show the ways of investigating working conditions for the business model through revenue simulation and analyzing the expected value of tag installed on the exhibition space by so-called 'tag evaluation model.'

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6659-6668
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• 2014

This study examined the actual condition of the cultural welfare system for the disabled. The survey was completed by 21 public and private museums at a cultural welfare center in Gangwon-do, Yongwol-gun, specialized for museums only between 1 June and 31 July 2014. The study scale questions were analyzed by field surveys in cultural welfare centers and interviewing the museum directors. The results were as follows. First, there were cultural welfare service effects on the controlling culture, art and leisure activities for the disabled. Second, cultural enjoyment improved the quality of life and life satisfaction of the disabled. This study provides a database to improve policy regarding environmental construction, various program developments, visiting performance system development, and supplement and financial support for the disabled audience as a member of society.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.