• Journal of Intelligence and Information Systems
• /
• v.17 no.2
• /
• pp.109-117
• /
• 2011

The exhibition industry, as technology-intensive, eco-friendly industry, contributes to regional and national development and enhancement of its image as well, if it joins cultural and tourist industry. Therefore, We need to revitalize the exhibition industry, as actively holding an exhibition event. However, to attract a number of exhibition audience, the work of enhancing audience satisfaction and awareness of value for participation should be prioritized after improving quality of service within exhibition hall. As one way to enhance the quality of service, it is thought that the way providing personalized service geared toward each audience is needed. that is, if audience avoids the complexity in exhibition space and it affords them service to enable effective time and space management, it will improve the satisfaction. All such personalized service affordable lets the audience's preference on the basis of each audience profile registered in advance online grasp. and Based on this information, it is provided with exhibition-related information suited their purpose that is the booth for the interesting audience, the shortest path to go to the booth and event via audience's smart phone. and it collects audience's reaction information, such as visiting the booth, participating the event through offered the information in this way and location information for the flow of movement, the present position so that it makes revision of existing each audience profile. After correcting the information, it extracts the individual's preference. hereunder, it provides recommend booth and event information. in other words, it provides optimal information for individual by amendment based on reaction information about recommending information built on basic profile. It provides personalized service dynamic and interactive with audience. This paper will be able to provide the most suitable information for each audience through circular and interactive structure and designed smart-phone application supportable for updating dynamic and interactive personalized service that is able to afford surrounding information in real time, as locating movement position through sensing. The proposed application collects user‘s context information and carrys information gathering function collecting the reaction about searched or provided information via sensing. and it also carrys information gathering function providing needed data for user in exhibition hall. In other words, it offers information about recommend booth of position foundation for user, location-based services of recommend booth and involves service providing detailed information for inside exhibition by using service of augmented reality, the map of whole exhibition as well. and it is also provided with SNS service that is able to keep information exchange besides intimacy. To provide this service, application is consisted of several module. first of all, it includes UNS identity module for sensing, and contain sensor information gathering module handling and collecting the perceived information through this module. Sensor information gathered like this transmits the information gathering server. and there is exhibition information interfacing with user and this module transmits to interesting information collection module through user's reaction besides interface. Interesting information collection module transmits collected information and If valid information out of the information gathering server that brings together sensing information and interesting information is sent to recommend server, the recommend server makes recommend information through inference with gathered valid information. If this server transmit by exhibition information process, exhibition information process module is provided with user by interface. Through this system it raises the dynamic, intelligent personalized service for user.

• English & American cultural studies
• /
• v.14 no.2
• /
• pp.49-75
• /
• 2014

This paper argues that John Leguizamo disguises ethical intention with humor in his one-person show, Freak. The argument proceeds in three stages. First, on the basis of Slavoj ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory that fantasies teach us how to desire discussed in The Sublime Object of Ideology, I analyze how and why Leguizamo exaggerates and thus de-constructs the ideological fantasies about Latin Americans in Freak. Through this analysis the ridiculous exaggeration of the fantasies and their deconstruction emerges as the means to surface the trauma caused by the fantasies, internally and externally curing and reconciling the audience. Second, I apply ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory of the quilting point introduced in Looking Awry: An Introduction to Jacques Lacan through Popular Culture to reveal how "blots" in Freak form "black holes" in the audience's consciousness to smash their established view of the reality, inducing them to encounter with "the real." The investigation into Leguizamo's use of humor as the quilting point illuminates how he invites the audience to look awry beyond the popular fantasy at "the real" America. Third, on the ground of Emmanuel Levinas's theory that theaters are the space of ethics, namely "ethotopos" to emphasize responsible actions discussed in "Ethics as First Philosophy," I assert that Leguizamo disguises his ethical message with humor so as for the audience to recognize their responsibility for others in America and take action towards change.

• The Research Journal of the Costume Culture
• /
• v.24 no.3
• /
• pp.367-384
• /
• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Korean Association of Arts Management
• /
• no.57
• /
• pp.85-126
• /
• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• Korean Institute of Interior Design Journal
• /
• v.16 no.3 s.62
• /
• pp.21-29
• /
• 2007

The communication in a play has a dual structure, which is composed of the communications within a play and in a theatre space. This research focuses on the scene design that creates the background or the theme of a play and communicates theme of a play to the audience. A scene design of a theatre has meta-linguistic aspects, which is the image or mood as the theme of a play. The scene design is composed of various design elements of space and objects as the properties of a play. Design elements and the objects are the design languages in various form; plane, three-dimensional, multi-dimensional form. These design languages have the significant meanings as signs like human language. The play works chooses the rhetorical expression to arouse the audience's sympathy. The scene design is completed with rhetorical expression for communication in theatre too. This research defines the category of meanings that design elements of scene design can create and the rhetorical expression of the scene design language. King Lear directed by Robert G. Anderson was analyzed with the category of design elements as a sign and the pattern of the rhetorical expression. The scene design for a play is completed effectively by the rhetorical expression of design elements as the design language for the communication with the audience in theatre.

• Cartoon and Animation Studies
• /
• s.41
• /
• pp.133-152
• /
• 2015

Some artists and scientists in physics and animation originating from research on its form of expression thanks to the rapid development of the example in the late 20th century image production technology integrating existing media feature, perform a re-creation and pop culture content has been recognized as a key factor. animation of the modern emphasis is also commercial and artistic activities as show whether the artist can not be excluded that also target audience. The audience does not want only to receive offers simply 'seeing' and 'hearing' in the animation requires a more indirect mental met. the other side, the director should lead the audience to immerse myself in work as intended mystification induce the world. where a conflict occurs between the audience and the director and The director needs to have its troubleshooting point to 'Technology of the communication'. Which is reduced to 'How will tell,' is technology communication technologies that are abbreviated representations of animation director is accessible to the audience and it is a close relationship between the psychological aspect of audience. Because, the audience is reproduced in a limited space, but he called on the board of directors and the same time the screen, the audience located at reception and the director located at provide. It is given. led force is given to the director. for this reason, The director needs to pay attention to the psychological aspect of audience this can be explained based on psychoanalytic theory. In this paper, "How can you lie to the audience and the director is the same line?" put down logic that is the animation audience under the logic that takes place visually capture phenomenon "selective attention" and sub-concept of "goal-directed selection' and 'stimulus-driven capturel' for theory of psychology. also, Induction device to elicit selective attention of the audience accordingly, let's consider whether and how they apply in animation.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.1145-1149
• /
• 2009

In the 1960s, light art using neon or fluorescent lamp, etc and 'light and space art' appeared with kinetic art. Light art that is an extension of kinetic art tends to be digitalized art and focus on movement, while light and space art emphasizes psychological side and focuses more on phenomenal experience than movement itself. Light art generally tends to offer visual play, but light and space art offers not only visual play but also deep impression on audience's mind. In this paper, LED control method using sound and how color change influences people's mind are studied based on my works try to supplement shortcoming of light art. The main goal of my work is to make more effective and empathic interaction between audience and light in order to avoid cold and mechanical impressions that light art has. Based on its contents, this study seeks method to stimulate people's emotion, and suggests applying mentality on the color and sound interaction together to media art. In conclusion, it is believed that new model of media art is suggested through this study.

• Journal of Korea Multimedia Society
• /
• v.23 no.2
• /
• pp.376-382
• /
• 2020

In the 1970s and 1980s, space installations in films became a new approach to film research. Many film directors and theoretical scholars believe that the space setting in films, other than textual stories, is an important core of film narrative research. Early film scholars have proposed that the film space with sensory narrative mode as the core motive force can promote people's in-depth understanding of the film content. Therefore, many researchers have tried to emphasize the importance of space in films through Hitchcock's films, but have not analyzed the elements and techniques of film space performance in detail. Reviewing the Hitchcock's classic crime film, through the space set in the traditional film, we can discover the movie techniques and concepts related to space. Therefore, this study takes Hitchcock's classic crime film as an example, and through analysis of film space expression techniques, attempts to propose factors for film space creation and bring new spatial perception effects to the audience.

• Korean Institute of Interior Design Journal
• /
• v.24 no.6
• /
• pp.229-239
• /
• 2015

The 21st century is a multiplication age and social and cultural phenomena have become diverse and peoples' desires and individuality have become important. Accordingly, the sensibility that reflects human taste is also required in the exhibition space. The exhibitions in this age induce the direct cognition of senses or take interactive forms that contact diverse media and react. The purpose of this research is to define the concept of haptic presentation method in which the audience perceive in the exhibition space by themselves and the visual elements spread into other senses and perceive complexly, and to present the directional nature. To conduct this research, first, this researcher recognized that haptic sensory experiential research by analyzing the roles and transition history of exhibition space is needed for the present age Second, based on philosophical theories, four haptic sensory expression characteristics (medium nature, experiential nature, attractiveness, sensitiveness) were derived by substituting Giles Deleuze's four haptic spatial characteristics (grasping short distance, dispersed gaze, cognition of bodily movement, formation of synesthesia through complex senses) and six formative factors of exhibition space (space, form, size, light, quality of materials, and color). And the effective exhibition presentation methods were analyzed through six cases of experiential exhibition spaces. Accordingly, what matters in the experiential exhibition space is to produce the four characteristics: medium nature, experientiality, attractiveness, and sensitiveness in equilibrium. It is necessary for the designers to reflect it appropriately in producing so that the audience can think and experience by themselves. Accordingly, in this thesis, it could be seen that to produce the haptic production characteristics in the experiential exhibition space in equilibrium is the important factor in the experiential exhibition space. In conclusion, experiences in the exhibition space should be approached with the transcendental haptic presentation method by which even the space of actually unexperienced cognition can be expanded and experienced through the metastasis and tension of various senses. Also, researches on such senses should be developed continuously, and this researcher expects that this will become a stimulant to present a new directivity.

• International Journal of Contents
• /
• v.16 no.4
• /
• pp.68-77
• /
• 2020

VR (Virtual Reality) contents make the audience perceive virtual space as real through the virtual Z axis which creates a space that could not be created in 2D due to the space between the eyes of the audience. This visual change has led to the need for technological changes to sound and sound sources inserted into VR contents. However, studies to increase immersion in VR contents are still more focused on scientific and visual fields. This is because composing and producing VR sounds require professional views in two areas: sound-based engineering and computer-based interactive sound engineering. Sound-based engineering is difficult to reflect changes in user interaction or time and space by directing the sound effects, script sound, and background music according to the storyboard organized by the director. However, it has the advantage of producing the sound effects, script sound, and background music in one track and not having to go through the coding phase. Computer-based interactive sound engineering, on the other hand, is produced in different files, including the sound effects, script sound, and background music. It can increase immersion by reflecting user interaction or time and space, but it can also suffer from noise cancelling and sound collisions. Therefore in this study, the following methods were devised and utilized to produce sound for VR contents called "A Midsummer Night" so as to take advantage of each sound-making technology. First, the storyboard is analyzed according to the user's interaction. It is to analyze sound effects, script sound, and background music which is required according to user interaction. Second, the sounds are classified and analyzed as 'simultaneous sound' and 'individual sound'. Thirdly, work on interaction coding for sound effects, script sound, and background music that were produced from the simultaneous sound and individual time sound categories is done. Then, the contents are completed by applying the sound to the video. By going through the process, sound quality inhibitors such as noise cancelling can be removed while allowing sound production that fits to user interaction and time and space.