• Smart Media Journal
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• v.13 no.1
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• pp.76-85
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• 2024

This study examined the Presence experience, resulting effects, and re-viewing intentions of visitors to experiential exhibition content. For this purpose a survey was conducted targeting 246 visitors to experiential exhibition content based on Hyecho's travel story and SilkRoad cultural heritage. As a result of the survey, understanding and interest in the content material and similar exhibition viewing experience did not affect Presence experience. In addition the higher the Presence experience of exhibition content, the greater the awareness and emotion that is the effect of Presence. And among the effects of Presence, emotion had a positive effect on revisiting intentions. Therefore, it was confirmed that future experiential exhibition contents require planning, production, and exhibition that allow users to experience Presence.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.393-401
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• 2019

In this study, based on the general reasoning that the higher the resolution of the HMD, the greater the presence and immersion of the audience and the greater the presence experience, the difference in the presence experience according to the resolution of the virtual reality device is verified empirically Presence effect. To do this, 300 college students were included in the population, and VR simulations of the Oculus store were conducted using HMD and mobile devices with different resolutions (HD, FHD, WQHD) as stimuli. As a result, there was a significant difference in the presence experience of the audience according to the resolution of the mobile device attached to the virtual reality HMD, and the presence effect had a significant influence on the awakening. On the other hand, no significant influence was found in the effect of emotion. Therefore, we can prove a general reasoning hypothesis that the higher the resolution of the virtual reality device, the greater the presence experience of the audience. However, since the confounding effect and the impression are contradictory in the presence effect side, additional experiments research is required.

• Journal of Digital Convergence
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• v.15 no.4
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• pp.413-419
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• 2017

This experimental research explores the effect of low attention of movie audience on the experience of presence, the degree of emotional touch, and memory about movie contents, because of indiscreet use of smart phone. This study measured and analyzed the experience frequency of presence, degree of emotional touch and recognition memory about movie contents by self report survey, after showing 2 subject groups consisting of 83 University students, one with not manipulated attention, the other with manipulated attention, using smart phone intentionally. This research found that the subjects exposed to the movie with not manipulated attention showed more presence experiences, and higher degree of emotional touch than the subjects exposed to the movie with manipulated attention. However meaningful difference of recognition memory was not discovered between the 2 groups. The result of this research can have a meaning because proceeding studies about presence effect of movie mainly dealt with the effect of HDTV, 3D image, stereo sound on the experience of presence, arousal, pleasure of movie audience and it is difficult to find studies about the relation between attention of movie audience and the experience of presence, emotional touch, and memory.

• Korean journal of communication and information
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• v.48
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• pp.231-256
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• 2009

The purpose of this study is that we regard the notion of reality that television viewers feel as presence, point out problem of measurement tool that appropriate for TV, clarify the subordinate concept of presence, and develop measurement tool that have reliability and validity. To achieve this, we paid attention to reality of television as a determinant of presence and tried to elicit proper subcategories. That is, we progressed two steps research that distinguished external characteristic and content of the media into sensible reality and cognitive reality, and develop measure item and verified statistical validity. We analyzed the second research result about measurement category of presence selected by first research and then we did Exploratory factor analysis and Confirmatory factor analysis. As a result, the first characteristic that make people experience presence is sensible reality, that is, it is the factor of sensible faithfullness, image faithfullness, and image reality as the form factor of the media. The second characteristic is cognitive reality. That is the factor of social reality, relational reality, and practical reality as the factor of media content. Synthesizing these subordinate factor, we can conceptualize presence experience as a reality of media form and content in HDTV viewing environment.

• Archives of design research
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• v.17 no.2
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• pp.413-424
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• 2004

This paper defines the telepresence as a particular type of experience, rather than a collection of hardware. Defining telepresence in this way provides a means for examining telepresence in relation to other types of mediated experience. Presence refers to the natural perception of an environment, and telepresence refers to the mediated perception of an environment. Factors influencing whether a particular mediated environment will induce a sense of telepresence include the following: the combination of sensory stimuli employed in the environment, the ways in which participants are able to interact with the environment, and the characteristics of the individual experiencing the environment. Telepresence art invites the people from remote worlds to networked cyber space and creates the experience of 'being there' by making participants control the virtual reality system and receive feedback from their teleactions. It is the way to produce an open and engaging experience that manifests the cultural changes brought about by remote control, remote vision, telekinesis, and real-time exchange of audiovisual information. The principal determinants of telepresence are sensory immersion, sensory fidelity, cognitive fidelity and personal factors. This paper applies the 4 determinants to telepresence art works such as Ken Goldberg's Telegarden, Monika Fleischmann & Wolfgang Strauss' The Home of the Brain, Paul Sermon's Telematic Dreaming, Telematic Vision, Eduardo Kac's Uriapuru, Simon Penny's Traces and Paul Sermon & Andrea Zapp's A Body of Water.

• KIPS Transactions on Software and Data Engineering
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• v.6 no.12
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• pp.587-592
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• 2017

In this paper, we raise a question: what makes presence in artistic works. Presence has been defined as a physiological and emotional feeling which feels that he or she is immerged in a specific artworks when he/she is very interested in the artwork. We design and implemented an abstract media art "The Light" which uses the color, trace, and interactivity of light to measure quantitative presence. Frequency spectrum of light on specific object which we perceive makes color; Motion of light and its impact on object makes shape which perceived in our human visual system; Interactivity or perceived distance between object and observer makes intensity of perception. We experimented our images with subjective survey which includes PQS (presence questionnaire survey) and objective test using brain signals (EEG). From our interactive experimental moving images tested on 30 subject, we conclude that we can make more presence as we interact more with images. Photo-realistic images is just pass-by and it is transformed to abstract images, as we more focused on the images, and the essential components of the abstraction includes color, trace, and interaction with subjects.

• Journal of Broadcast Engineering
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• v.17 no.1
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• pp.60-72
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• 2012

After the movie "AVATAR" became a good model of cash-cow in 3D movie, the profit of 3D-movie significantly reduced. One of the reasons why it happens comes from rare understanding of human factors for instance how viewers get immersed, but sometimes tired. Although 3D images should be more considered human visual system including eye, unfortunately most communication research ignored human factors. For those reasons this study observed the effect of 3D video on viewers' psychological response, especially for perceived eye movement, perceived characteristics, visual fatigue, and presence. With 90 participants, the results show that viewers' perceived feature effects on their presence. In detail, first, materiality and tangibility are more important factors than clarity in 3D video, and it means that when making 3D content or devices, materiality and tangibility should be considers that any other factor. Second, this study examined whether we perceive our eyes as media, and the result shows that as viewers' presence level became higher we perceive eye movements more, and as viewers' presence level became higher perceived visual fatigue became lower. This result means that when we move eyes, we interact with surrounded environment, so 3D content needs to provide vivid features to be more interactive. On the other hand, since level of presence increase visual fatigue, it must be balanced when producing and playing.

• Journal of Digital Contents Society
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• v.19 no.3
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• pp.461-470
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• 2018

The purpose of this study was to examine the relationship among presence, enjoyment, brand attitude, and purchase intention of sports brand advertising based on augmented reality. The results are as follow. First, presence influenced positively on enjoyment perceived by sports brand advertising based on augmented reality. Second, presence influenced positively on brand attitude of sports brand advertising based on augmented reality. Third, enjoyment perceived by sports band advertising based on augmented reality influenced positively on brand attitude. Fourth, enjoyment perceived by sports brand advertising based on augmented reality influenced positively on purchase intention. Fifth, brand attitude influenced positively on purchase intention.

• Journal of Broadcast Engineering
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• v.19 no.1
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• pp.44-55
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• 2014

The goal of 3D stereoscopy is not only to maximize positive experiences (such as sense of realism) by adding depth information to 2D video but to also minimize negative experiences (such as fatigue). This study examines the impact of different depth levels induced by adjusting 3D camera convergences on positive and negative experiences and finds an optimal parameter for viewers. The results show that there are significant differences among depth levels on spatial involvement, realistic immersion, presence, depth perception, screen transmission, materiality, shape perception, spatial extension and display perception. There are also significant differences for fatigue and unnaturalness. This study suggests that reducing the camera convergence angle of an object by $0.17^{\circ}$ behind the object is the optimal parameter in a 3D stereoscopic setting.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.420-431
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• 2018

This study approaches the subject of satisfaction and persistent use intention based on presence based on virtual reality (VR). VR presence, user characteristic, and VR sickness, content satisfaction and system satisfaction, and continued use intention through this of 569 men and women commissioned by the survey agency were investigated. In the content of the study, the constituent factors of VR presence, an independent variable, were set as realism, immersion, and interaction. The user characteristics were set as the individual 's propensity to innovate, the degree of immersion, and the experience of using VR. VR Presence, User Characteristics, VR Sickness of Intention of Continuous Usage were set as research problems and models. Eight hypotheses were adopted in the analysis of the research problem applying the structural equation modeling (SEM) model. In conclusion, this study suggests that content satisfaction, which has the greatest influence on VR content satisfaction and persistent intention, is suggested.