• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.262-269
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• 2024

The "AR Campus Diary" project innovates in the realm of art through integrating augmented reality (AR) with interactive storytelling, fostering personal and interpersonal development through artistic expression. This artistic endeavor metaphorically represents the growth and fruition of individual stories, facilitated by a series of progressive art activities that emphasize continual interaction between self and others. Set against the backdrop of a university campus, the project employs AR markers designed to unfold stories in phases through a dedicated application, allowing participants to experience and influence the narrative uniquely. Diverging from traditional film editing techniques, "AR Diary" offers viewers the autonomy to navigate through story segments of their choosing, marking a departure from conventional cinematic storytelling by leveraging marker-based plot progression. This project not only showcases the fusion of technology and art but also pioneers a participatory form of art education based on engagement and play.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.687-700
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• 2021

The advent of realistic technologies such as AR has extended the interaction area from the computer environment to the offline space. As demand is expected to increase in the future, the need for study on interactive storytelling that mediates online and offline is emerging. This study proposes a storytelling structure to achieve a balance between interactivity and narrativity in interactive narrative characterized by online and offline mediation. According to a case study of ARG and AR games based on Henry Jenkins' theory of 'Environmental Storytelling', there should be a balance between the space designed by the game designer and the space created by the player's interaction, and the roles should be properly distributed in both online and offline spaces to contribute to the formation of narrative together. In addition, it is necessary to borrow the characteristics of ARG that achieves a balance of interactivity and narrativity based on offline spatiality. The significance of this study is to expand the area of interactive storytelling, which has been discussed centering on online, to offline, and to suggest the interaction area as a factor to consider. In addition, as a basic study related to storytelling that mediates online and offline, it is expected to provide a direction for the development of content based on realistic technologies.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.508-511
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• 2009

In Interactive Storytelling, storyline is developed according to the user's interaction. Diffrerent from linear, fixed storytelling, users may select an event or make decisions which affect on the story plotting. Therefore user's feeling of immersion and interest may be greatly enhanced. In this paper, we used markers and multi-touch pad for user's interaction for interactive storytelling. Users could present his/her level of interest and provide feedback through markers and multi-touch pad, through which storyline was differently developed.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.205-210
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• 2019

Alongside the development of communication technologies such as smart phone, 5G, advertisements which have been regarded as nexus of marketing behaviors are treated as surplus entities in our society now. Ad marketers have been focusing on storytelling advertisements via SNS or similar web-services. We are facing another big media changes such as Virtual Reality, Augmented Reality. Especially the current study probes Mixed Reality as the potential key of new storytelling brand marketing with discussing directions and insights based on the narrative transportation theory.

• The Journal of Korean Institute of Information Technology
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• v.16 no.11
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• pp.123-132
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• 2018

Recently, various methods have been studied and developed to develop the local cultural contents industry. This research has produced a mobile AR augmented reality game that anyone can easily access by developing contents that can be enjoyed with new tourists. It aims to spread 10 million tourists to surrounding tourist attractions by developing a new storytelling-based AR game using the symbol of Jeonju, which is the birthplace of the Joseon Dynasty, and promote economic value-added activities in nearby stores. GPS technology and AR marker-based action augmented reality games will be newly established as cultural contents based on new regional scenarios. Augmented reality games that combine visual resources are increasing values of local brands by playing games at Jeonju tourist attractions.

• Journal of Information Technology Applications and Management
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• v.27 no.4
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• pp.49-62
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• 2020

In this study, the research model of VR·AR contents convergence education for solving social problems was presented after benchmarking the domestic and foreign realistic educational contents industry and policy trends and Fishbone diagram analysis. The goal was to create VR·AR content convergence talent for co-prosperity in the era of the fourth industrial revolution, and the target of education was students, researchers, and business personnel who are interested in VR AR technology education and contents business such as game animation, etc. The education model is based on understanding about storytelling of the socially disadvantaged, such as children and the elderly, and is technology education for content production including the application of virtual and augmented reality SW, and is a convergence education for content planning and business model strategy development.

• (The) Korean Journal of Advertising
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• v.29 no.5
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• pp.127-160
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• 2018

Recently, virtual reality and augmented reality technology have been extensively utilized in brand communication. The purpose of this study is to investigate digital reality contents as branded entertainment and content-analyze its format and contents for brand communication. Coding categories were derived to examine marketing characteristics of 300 digital reality contents and key descriptive statistics were presented and interpreted. The results revealed that consumer responses(i.e., view count, like, and dislike) toward Branded Digital Reality contents vary according to types of storytelling. Moreover, perceived values of contents also varied by the types of digital reality(VR vs. AR). Based on the results, this paper discusses the academical and managerial implications of study findings.

• The Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.27-32
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• 2018

Recently, diverse bio-growth and object production experience learning contents have been developed for AR-based storytelling. In this paper, we will develop a storytelling-based growth type content using 3D printer which can add interest in and motivation of experiential learning. It is possible to increase the value of the characters produced by 3D printer as they can be used as personal collections. The bio-growth type content enables the learners and users to experience the local culture, history, and tourism ecology, which can enhance the educational effect by promoting their understanding in a fun way. The purpose of this study is to develop an application for experiential learning contents which creates a virtual environment in an object smart device where you can experience the culture and ecology of a learning community, and then produce the output using the 3D printer to keep as a personal souvenir. The developed contents application for experiential learning can be utilized not only for students but also for tourists. It is expected to serve as a source for further development of various contents through 3D printing technology.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.26-45
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• 2013

Sudden increase exceeding 30million in the number of smart phone users, and rising interest in the technology of augmented reality, is now trying to combine it with AR technology in other areas very much. The field of cultural heritage, which has been constructed by the Internet and 3D technology, is not unusual and this field is now rapidly changing thanks to the AR technology which can make users experience cultural heritage with high reality. The Palaces in Seoul, however, use fragmentary tools of information - lack of heritage commentators, leaflet, etc, even though the number of visitors is gradually increasing. Therefore, three-dimensional and comprehensive cultural heritage information service is needed with the guidance in the mobile era. This study utilizes the AR technology for building the Deoksugung Tourist Information Service Application(App.) applying the markerless-based recognition technology which is a more advanced tool than the location-based AR technology. This new AR technology can switch perceived real images such as the tablet of the King in the Palace of in the real world, patterns and pedestals into virtual world, which can reproduce the damaged cultural assets as 3D. This also composes photos of the past with the current buildings, which can increase people's interest and absorption of the contents, and helps them understand and be aware of Korean traditional culture and cultural heritage effectively. In addition, convergence between IT new technology, Augmented Reality(AR) and humanities through storytelling based implementation of cultural heritage in smart phone is attempted to demonstrate that there is strength in which augmented reality technique exerts infinite creativity based on actual reality world.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.