• Journal of the Korea Computer Industry Society
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• v.4 no.10
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• pp.599-610
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• 2003

Sound equipment has developed rapidly as digital technology has quickly matured. Due to this fact, the necessary knowledge and skills are new. Moreover, improvements in digital surrealism in acoustical modeling have increased the challenges facing future audio engineers. Therefore, the necessity of Instruction in the use of sound equipment is needed for the specialist and amateur, alike. However, it is not easy to loam all kinds of sound equipment and systems which are upgraded often. It is necessary to offer a virtual environment that accurately simulates the manipulation and experiences of new sound recording technologies. The purpose of this study was to design a web based virtual operating system for sound equipment technologies which guide user to learn basic principles of usage and production techniques. The virtual simulation system was designed to aggressively implement an actual equipments so that user manipulation will accurately reflect current equipment usage and behavior.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.125-137
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• 2012

In this paper we draw from recent theoretical discussions of fan culture and the new media technologies to explore how online communities contribute to new forms of K-pop fandom. We suggest that these online sites play an important role in setting the new stage of dissemination and dialogue of K-pop knowledge, through which particular forms and spaces of online fan culture are being created and sustained. Moreover, these web-based communities challenge the existing concepts that have embraced interrelations between culture, consumption and technology. Based on an empirical study of YouTube, carried out using netnographic methods, this study tackles the following questions: how fans construct themselves as Korean pop fans through the online activities; how they exchange information and opinions of Korean stars; and, what meaning they extract from online file-sharing activities.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.146-156
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• 2019

New media art moves out of place and time constraints, sublimates the benefits of technology into art, and presents a new way of communication with the audience. This paper analyses the tendency of nonverbal communication methods by analysing examples of facial expressions and sound used in new media art from early times. As a result, it can be seen that the digital paradigm in the new media art has a nonlinear thinking, which makes a perceptual reduction of immersion and dispersion. The facial expression in new media art made it possible not only to overcome the limit of space and time of various expressions through 'visual distortions, enlargement, and virtualisation', but also to enable new ways of communication to display facial parts combined or separated in the digital environment. The sound in new media art does not stay in auditory sense, but pursues multi-sensory and synesthesia by cooperating with visual and tactile, evolves by revealing characteristics of space expansion and sensibility and interaction of audience.

• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.60-68
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• 2021

The purpose of this paper is to examine the formal characteristics of , which has been screened on Netflix since 2018. This film can be considered an interactive narrative because it gives viewers the opportunity to select their own narrative forks which lead to various endings. However, it also limits viewers' freedom of interactions in many ways, resulting in the pessimistic narrative world of series. In this contradictory situation, the conflict between the user's selectability and the narrator's authoriality emerges. And this collision gives rise to a complex form in which nonlinear interactive and linear narrative forms blend together. It can be understood as a form of self-reflection, such as forms of the metalepsis and breaking the fourth wall. In this paper, this particular form will be regarded as a sort of reflexive intermediality, i. e. the form for media reflexion.

• Journal of Digital Convergence
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• v.17 no.3
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• pp.235-251
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• 2019

The purpose of this study was to investigate the single-person household's demand for a wearable healthcare system that provides the ischemic heart disease and cardiopulmonary alarm to be developed. In this study, in-depth interviews were conducted with six unmarried individuals in their thirties who were in the workplace and the results were interpreted by Giorgi's phenomenological analysis method. The study results indicated that although the wearable healthcare system was implemented with high-technology functions that serve the intended purpose, it is necessary to comprehensively consider factors such as aesthetics, comfort, and ease of washing. In this study, we found that the variables influencing the interviewees' intent to accept healthcare services are complex and cannot be attributed to one factor alone; this study has also shown a variety of interpersonal correlations. In addition, although health-care research focusing on the elderly has been conducted in the past, it is suggested that younger generations such as those in their thirties can also be studied as health care service adopters.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.54-69
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• 2021

In 2020, civilized society's overall lifestyle showed a distinct change from consumable analog media, such as paper, to digital media with the increased penetration of cloud computing, and from wired media to wireless media. Based on these social changes, this work examines whether the use of computer media in the field of landscape architecture is appropriately applied. This study will give directions for new computer media classes in landscape architectural education in the 4th Industrial Revolution era. Landscape architecture is a field that directly proposes the realization of a positive lifestyle and the creation of a living environment and is closely connected with social change. However, there is no clear evidence that landscape architectural education is making any visible change, while the digital infrastructure of the 4th Industrial Revolution, such as Artificial Intelligence (AI), Big Data, autonomous vehicles, cloud networks, and the Internet of Things, is changing the contemporary society in terms of technology, culture, and economy among other aspects. Therefore, it is necessary to review the current state of the use of computer technology and media in landscape architectural education, and also to examine the alternative direction of the curriculum for the new digital era. First, the basis for discussion was made by studying the trends of computational design in modern landscape architecture. Next, the changes and current status of computer media classes in domestic and overseas landscape education were analyzed based on prior research and curriculum. As a result, the number and the types of computer media classes increased significantly between the study in 1994 and the current situation in 2020 in the foreign landscape department, whereas there were no obvious changes in the domestic landscape department. This shows that the domestic landscape education is passively coping with the changes in the digital era. Lastly, based on the discussions, this study examined alternatives to the new curriculum that landscape architecture department should pursue in a new degital world.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Journal of The Korean Association For Science Education
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• v.37 no.3
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• pp.417-427
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• 2017

Media is the medium that impart information beyond time and space. They refer to characters or images that serve as means to convey information. From old media such as newspapers and television to new media such as the internet and smart phones, media has developed cumulatively with the development of technology. The goal of media education is to develop the understanding of the properties of media, the ability of critical interpretation of media and selective acceptance. Furthermore it is to cultivate the ability to express meaning creatively and communicate through media. I carried out 'the research of Korean classroom instruction models based on media' with Korean language and social studies education researchers from July 2016 to December 2016. This study is a fundamental study of the project. Based on 58 research papers published between 2006 and 2016, research trends and factors were extracted through literature studies related to media-based science learning. The Result has shown that the studies related to media-based science learning is on the rise, and more than half of all researchers studied about elementary school students. The studies were divided into research on students, research on teachers and pre-service teachers, research on smart devices or media contents, and research on the development of digital textbooks. Among the four variables, there were many researches related to students' cognitive and affective development, and the development and application of media contents.

• Cartoon and Animation Studies
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• s.39
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• pp.297-320
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• 2015

Modern technology in the development and convergence of art brought the rapid development of the media arts actively accommodating 'media art' digital media. It has to go to expand the area and limitations as a basis of communication in the 21st century, a new artistic creativity, through the gathering of the existing chain of modern digital mobile technologies and new genre public art that is based on interactive communication break down the boundaries between sectors It has evolved into. This fusion of high technology and the art of mobile interactive media art is to overcome the limitations of time and physical space, as an active subject of interaction and participation, and expanding the range of experiential communications, such as art and science, cultural industries giving provides a flexible platform for a variety of applications. This study presents an expanded paradigm of the new communication and interactive media that define the reporting year review through the literature on art, experiential mobile communications through a case study of mobile interactive media art that is used as a medium of artistic expression the interactive effect was analyzed as a possible new public art. Convergence and interactivity, mobile interactive media art as a buzzword experience has proposed a new approach to high-tech and art and meet the new sensibility of our life and communication, unlimited possibilities worthy of the contemporary trend of convergence and consilience with a new art genre is expected to continued to evolve and develop.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.53-62
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• 2021

After the first to present projected moving pictures to audiences, the film industry has been reshaping along with technological advancements. Through the full-scale introduction of visual effects-oriented post-production and digital technologies in the film-making process, the film industry has not only undergone significant changes in the production, but is also embracing the cutting edge technologies broadly and expanding the scope of industry. Not long after the change to digital cinema, the concept of artificial intelligence, first known at the Dartmouth summer research project in 1956, before the digitalization of film, is expected to bring about a big transformation in the film industry once again. Large volume of clear digital data from digital film-making makes easy to apply recent artificial intelligence technologies represented by machine learning and deep learning. The use of artificial intelligence techniques is prominent around major visual effects studios due to automate many laborious, time-consuming tasks currently performed by artists. This study aims to predict how artificial intelligence technology will change the film industry in the future through analysis of visual effects production cases using artificial intelligence technology as a production tool and to discuss the industrial potential of artificial intelligence as visual effects technology.