• Journal of Digital Convergence
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• v.11 no.6
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• pp.311-317
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• 2013

Most of the existing interactive arts or entertainment systems consist of the following three steps: 1. the system's prompting the action of the participant, 2. action of the participant, and 3. response of the system. They do not presuppose these successive processes are performed continuously and repeatedly, and they are designed to express the concept of the work in each interaction. The opposite approach is to transmit the concept of the work in a continuous and repeated experience. The authors propose "Adjustive Media" as a type of work based on this approach. Adjustive Media has a spiral model with feedback. When participants experience the work repeatedly, they can recognize the difference of results between each interaction, and they can under- stand more closely the intent of the designer. This paper will propose 3 design processes for Adjustive Media as design method, and will introduce the prototypes of Adjustive Media.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.40-47
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• 2012

Existing art, media art, accompanied by a new path of awareness and perception instrumentalized by the human body, creating a new way to watch the interaction is proposed. Western art way to create visual images of the point cloud that represented a form that is similar to the Pointage. This traditional painting techniques using digital technology means reconfiguration. In this paper, a new appreciation of fusion of aesthetic elements and digital technology, making the point cloud in the form of video. And this holographic film projection of the spectator, and gestures to interact with the video content is presented. A Process of making contents is intent planning, content creation, content production point cloud in the form of image, 3D gestures for interaction design process, go through the process of holographic film projection. Visual and experiential content of memory recall process takes place in the consciousness of the people expressed. Complete the process of memory recall, uncertain memories, memories materialized, recalled. Uncertain remember the vague shapes of the point cloud in the form of an image represented by the image. As embodied memories through the act of interaction to manipulate images recall is complete.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.11 no.4
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• pp.670-677
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• 2007

Virtual instruments are the mobile software designed to help users navigate, measure hidden environmental properties, or support various user interactions in a virtual environment. Over the past few years, we have developed several virtual instruments for educational virtual environments. However, the process of constructing virtual instruments is often difficult and time consuming because it requires the developers to understand not only the virtual reality systems but also mobile computing platforms. In this paper, we Int identify a few requirements for the development of virtual instruments. Then, we introduce the VIST (Virtual Instrument Scripting Toolkit), specifically designed for reducing the effort of designing virtual instruments. Finally, we will illustrate some applications of using VIST and then discuss the future research directions.

• Journal of Korea Society of Industrial Information Systems
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• v.26 no.6
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• pp.135-154
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• 2021

This paper compares and analyzes the domestic OTT services to access their success factors, strategies and examine the domestic OTT leader's wavve's unique differentiation strategy. It is a comparative study of the top five market share services based on the operator and content's key success factors criteria, revenue structure, personalization, interactive media and cooperation. As a result, the common success factors were contents that reflected the characteristics of the operators, hybrid VOD, hybrid filtering, real-time participation interaction, alliances between the same and heterogeneous industries, and utilization of existing business areas. In addition, the study confirmed that it expanded the scope of the project and operated the contents efficiently by introducing one or more business strategies. wavve has been widely validated with its content, while B2C has long-term benefits and overseas use services, and B2B has a systematic use system, differentiating itself from other services. This paper can be the foundation for identifying the strengths and differences of each service on 2021, entering the domestic OTT industry, and establishing competitive strategies.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.3
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• pp.15-22
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• 2010

Today's rapid shifts toward a new paradigm are combining city spaces with reality and technology, which is known as a ubiquitous environment. An ubiquitous environment means that 'whenever' and 'wherever' become connected. It is a great possibility that this will change our future lifestyle. Korea has the biggest advantage in the implementation of this new environment, such as having an excellent network infrastructure. Using these attributes of a ubiquitous environment, changes are being made toward ubiquitous cities within developing fields of construction, landscaping, streets, art, and the environment. This research is based on background of research that activated media pole in public city space has been done research about reality of digital skill, fusion, and sense of ubitizen, and Kang-Nam U-street applied by ubiquitous technique. While reflecting an environment that can be utilized in a modern digital society, the application of ubiquitous technology to media pole can be a space for the two-way communication of the current paradigm. It would also be meaningful to create a new cultural space through media pole. Through evaluation, citizens of the ubiquitous age are going to interact to raise the satisfaction that media pole in city space can prevent giving direction to develop and trial and error about service ability, identity, and publicity. Finally, the media pole can be used as a fundamental element to suggest directions for change when viewed as future development.

• Design Convergence Study
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• v.14 no.4
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• pp.133-150
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• 2015

In this study, we proposed Interactive Visualization methods that can be analyzed relations between nations in various viewpoints such as period, issue using total 5211 of the UN General Assembly voting data.For this research, we devised a similarity matrix between nations and developed two visualization method based similarity matrix. The first one is Network Graph Visualization that can be showed relations between nations which participated in the vote of the UN General Assembly like Social Network Graph by year. and the second one is Proximity based Circular Visualization that can be analyzed relations between nations focus on one nation or Changes in voting patterns between nations according to time. This study have a great signification. that's because we proposed Proximity based Circular Visualization methods which merged Line and Circle Graph for network analysis that never tried from other cases of studies that utilize conventional voting data and made it. We also derived co-operatives of each visualization through conducting a comparative experiment for the two visualization. As a research result, we found that Proximity based Circular Visualization can be better analysis each node and Network Graph Visualization can be better analysis patterns for the nations.

• Journal of the Korea Convergence Society
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• v.11 no.7
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• pp.137-144
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• 2020

Based on the basic concepts and roles of the Science Museum, the research and development of the "Sound Light" interaction exhibition contents and experience exhibition space aimed at providing the exhibition, education and experience of scientific principle directly related to daily life will be implemented in the "Sound Light" exhibition space of the Gwangju National Science Museum. The scope of the research is to define the conditions and elements of the museum's hands-on exhibition by examining the case and status of the existing science museum's experience-type content prior research, and research and development of experience-type exhibition scenarios and contents for children based on them. The results of this research and development content are firstly developed with the theme of light and sound as interactive hologram experience content. Second, by multi-faceted media facade through projection mapping by multiple projectors, visual wide and spectacular screen composition and animation are realized. Third, visitors-oriented exhibitions and experiences that can interact with visitors by moving various colors and sounds together. Finally, interactive content is provided through hologram interfaces through hologram screens to encourage active participation of many visitors in viewing rather than simply delivering exhibition information and to promote revisiting the exhibition. Through a series of studies, it was possible to research and develop contents and experience exhibition spaces with theme park characteristics, which are the trend of science museums.

• Journal of Broadcast Engineering
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• v.17 no.4
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• pp.695-706
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• 2012

The purpose of this paper is to propose a service system for a digital hologram video, which has not been published yet. This system assumes the existing service frame for 2-dimensional or 3-dimensional image/video, which includes data acquisition, processing, transmission, reception, and reconstruction. This system also includes the function to service the digital hologram at the viewer's view point by tracking the viewer's face. For this function, the image information at the virtual view point corresponding to the viewer's view point is generated to get the corresponding hologram. Here in this paper, only a prototype that includes major functions of it is implemented, which includes camera system for data acquisition, camera calibration and image rectification, depth/intensity image enhancement, intermediate view generation, digital hologram generation, and holographic image reconstruction by both simulation and optical apparatus. The proposed prototype system was implemented and the result showed that it takes about 352ms to generate one frame of digital hologram and reconstruct the image by simulation, or 183ms to reconstruct image by optical apparatus instead of simulation.

• Journal of the Korea Society of Computer and Information
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• v.18 no.1
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• pp.31-42
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• 2013

This research sheds light on the non-intrusive traits of mobile devices (Electronic Guidebook, Rememberer, I-Guides and eXspot) deployed in Exploratorium for enhancing visitor experience via case studies. In an interactive exhibition environment, non-intrusiveness was the key to supporting the immersive experience and meaning-making for visitors. The usability of hand-held devices directly impacted on the non-intrusiveness, thereby reshaping the form-factors of mobile devices. The change in from-factor has also minimized the functions of devices as the remember of museum experience. Furthermore, the role of mobile devices, which turned from a supposed multi-media guide to a mere rememberer, made them virtually impossible for realizing the "seamless visiting model" originally planned. An array of projects carried out in Exploration have achieved some degree of success such as increasing viewing time as well as reinforcing post-visit activities. However, taken from musicological perspective, increase in viewing time is by all means insufficient to be taken as proof since it is assumed to be achieved by photo-taking (i.e. MyExploratorium) rather than by interacting between visitors and exhibits. This issue --increased viewing time -- needs to be analyzed in depth. All in all, mobile devices used in Exploratorium can be defined as a learning tool/educational supporting medium based on personalization for (visitors') optimizing extended museum experience.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.