• Korea Science and Art Forum
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• v.6
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• pp.67-78
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• 2010

The purpose of this study was to examine the educational methods and the educational effects using the cloud chamber in order to help young people to understand the nuclear energy and the ionizing radiation. In this study, we surveyed not only the history and the value of the cloud chamber as an hands-on exhibit in the science museum, but the case study on the nuclear hands-on education and the nuclear out-of-school education using the cloud chamber. And we analysed the satisfaction degree of participants in the out-of-school education using the cloud chamber in the science museum.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.536-542
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• 2006

세계 각국은 자국의 문화재를 보존하기 위해 많은 노력을 기울이고 있다. 디지털 복원 기술을 이용하여 문화재를 영구히 보존하려는 시스템 개발 또한 그 중 하나이다. 그러나 문화재는 유형의 물체뿐만 아니라 그에 얽힌 전설과 정신 또한 중요함에도 기존의 시스템들은 형태적인 복원에 치중한 것이 대부분이었다. 본 논문에서는 예술적 상상으로 가상현실 시스템을 이용해 문화콘텐츠 개발을 위한 예술기획 기법을 설명한다. 제안된 기법은 문화원형을 선정하고, 문화적, 예술적 분석과정을 거쳐, 그 결과를 가상현실 시스템에 적용한다. 기획된 내용은 문화콘텐츠 체험 시스템에 적용되었다. 예술기획 기법은 형태적인 측면에서의 문화재뿐만 아니라 그 동안 부재되었던 정신적인 측면 또한, 과제 삼아 문화재 복원의 진정한 의미를 가상현실 시스템에 담도록 하였다.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.107-108
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• 2016

제주도는 2015년 '문화예술 섬'으로 조성하고 2016년 제주문화예술재단의 '도민이 행복한 문화예술섬'으로 만드는 것이라는 비전을 제시하고 있다. 이에 본 연구는 제주도를 중심으로 '무용콘텐츠'의 역할을 확대시키고 지속적으로 개발, 발전하기 위하여 무용콘텐츠 개발방안을 모색하고자한다. 기존의 선행연구를 토대로 논문, 학술지, 단행본, 인터넷 홈페이지 등을 이용하여 이론적 객관적 근거를 제시하며 다음과 같이 지역축제콘텐츠, 공연예술콘텐츠 중 연출적 요소, 주제적 요소, 공간적 요소, 체험형콘텐츠, 감상형콘텐츠로 나누어 개발 방안을 제시하였다. 위의 방안들을 이용한 제주도와 하나 되는 무용콘텐츠를 통하여 지역발전 및 무용예술의 발전과 대중화 그리고 문화적 가치를 증대시키는 것을 꾀하고자 하는데 그 목적이 있다.

• The Science & Technology
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• no.1 s.428
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• pp.87-92
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• 2005

1905년은 아인슈타인의 일생 가운데 가장 생산적인 해였다. 그는 그 해에 특수 상대론, 광전효과, 브라운 운동 및 E=mc² 등 네편의 주옥같은 논문을 발표했다. 한국물리학회와 과학문화진흥회는 이를 기념하기 위하여 2005년 7월 1일부터 2006년 2월말 까지 창경원 옆에 있는 서울 과학관에서 아인슈타인 100주년 기념 전시회를 갖는다. 전시회는 1)아인슈타인의 생애 2)시간과 공간 3)빛, 파동 및 물질 4)아인슈타인의 우주 5)아인슈타인과 예술 등 다섯 가지 주제를 체험위주로 기획하고 있다. 관람객들이 특수 상대론을 설명이 아니라 체험함으로써 일상생활에서는 어떻게 이용되고 있는가를 알도록 전시장을 꾸미고 있다. 각 주제별로 그 내용을 스케치해본다.

• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.118-121
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• 2009

제주지역의 대표적인 공립예술단이라고 할 수 있는 제주특별자치도립예술단 소속 교향악단과 합창단을 중심으로, 지역 공립예술단을 활성화하기 위한 체계적인 마케팅 기법 도입방안을 제시하고자 한다. 더 나아가서 향후 다른 장르의 공연예술 분야에도 적용할 수 있는 마케팅 전략의 이론적 틀을 제공하는데 연구의 목적이 있다. 본 연구에서는 공연 관람객을 대상으로 설문조사와 면접을 실시하고 공연 마케팅의 5대 요인(제품전략, 가격전략, 장소전략, 촉진전략, 고객전략)과 공연 관람객이 인식하는 공연 활성화 요인(공연 만족도, 타인 추천의향, 재관람 의향)과의 상관관계를 살펴봄으로써 마케팅 전략적 측면에서 제주공연예술단의 활성활 방안을 모색하기 위한 이론적 근거를 제시해보고자 하였다. 본 연구의 가설검증 결과를 요약하면 공연 활성화에 영향을 끼치는 마케팅 전략 요인은 제품전략과 가격전략, 그리고 고객전략이었다. 제품전략과 관련해서는 '공연작품 및 작가', '공연단체 및 출연진의 유명도' 그리고 '공연의 예술성과 흥행성'을 고려해야 하는 것으로 나타났다. 가격전략에서는 관객들이 입장료 '할인혜택'과 '적정한 가격이라는 느낌'을 갖도록 하는 것이 중요하며, 고객전략에서는 공연 이외에도 꾸준한 '고객관리'와 '공연정보 제공' 그리고 '공연체험', '공연시간 준수' 등이 주요 고려사항이었다.

• Journal of Digital Convergence
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• v.18 no.9
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• pp.373-378
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• 2020

With the continuous development of economic activities of influencer(people with social influence). Because of 'Influencers' bring huge economic benefits, all walks of life are creating their own 'influencers'. In the art exhibition industry, the 'influencer' art exhibition pays more attention to experiencing the audience. Although it reduces the professionalism of art exhibitions, it also lets more non-professional visitors to see and experience art exhibitions. In this paper, the write takes the 'influencer' art exhibition as the research object and divides into 'emotional immersion' and 'technological immersion', and analyzes the development status of 'influencer' art exhibition. It is a commercial marketing method to call art exhibition 'influencer'. But with the increasing demand of the public for art and culture consumption. the 'influencer' art exhibition, which can bring immersive cultural experience to the audience. It just meets the cultural consumption demand of the public. So that it has become one of the main forms of art exhibition. In the future, immersive 'influencer' art exhibition will become the main form of art exhibition. With continuous innovation and creativity, art professionalism and commercial marketing, the 'influencer' art exhibition will continue to develop.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.221-247
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• 2020

This paper examines the meaning of Pyeongsari, the main stage of the novel 'Toji (Land )' and the original experience space engraved in the lives of the characters and suggests the direction of Pyeongsari as a 'Toji (Land )' content platform. Pyeongsa-ri, an imaginary space in the novel, starts from the background of the original work and turns into a representative tourist space for Ha Dong-gun. However, it is necessary to provide cultural experience-type contents that visitors can experience in person. In the original work, Pyeongsari is an ideal community and a symbol of the Korean modern history of suffering and pioneering. Therefore, taking advantage of this meaning, it is necessary to prepare a cultural experience space that shows Confucian culture, women's labor culture, and shamanic culture to draw on visitors' experiences. In addition, the app should be developed in connection with transformed works that have been the driving force behind the reorganization of Pyeongsari, and education and experience spaces using augmented reality are provided on the web. This interaction between digital and reality makes the meaning of the original or transformed works contemporaneous, while contributing to the visitor's own experience. In addition, through this, Pyeongsari can evolve into a cultural experience content platform that reflects the meaning of Korean culture and life. This paper is significant in that it suggests the direction of Pyeongsari's space planning for the 'geography of meaningful places'. In addition, while showing how the imaginary space of the original literary work has reorganized the space of reality, there are implications for the media content of the literary work and the terrain of the culture and arts industry.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.169-184
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• 2021

Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.