• Journal of Korea Multimedia Society
• /
• v.23 no.9
• /
• pp.1139-1146
• /
• 2020

Recently, as e-learning technology advances, interaction and data exchange between lecturers and learners have become very important. In addition, accuracy of data delivery and efficiency of system implementation should be ensured. Considering these aspects, SignalR is the most suitable communication method for constructing an audience response system in e-learning. Existing audience response systems require separate wireless devices and have problems with system compatibility. SignalR, on the other hand, is capable of operating in all environments including PC programs, web, Android, and iOS, and has an advantage of being easy to develop applications. As such, SignalR is widely used in chatting functions for small scale, real-time communication system, and it has never been used to implement an audience response system. Thus, for the first time in this paper, an audience response system using SignalR was proposed and an experiment was conducted on whether it was applicable at the e-learning education field. Therefore, from the results fo an experiment, a variety of e-learning environments can be built through the audience response system using SignalR proposed in this paper.

• International Journal of Advanced Culture Technology
• /
• v.5 no.1
• /
• pp.51-57
• /
• 2017

Digital signage is becoming part of daily life across a wide range of visual advertisements segments market used in stations, hotels, retail stores, hotels, etc. The current digital signage system used in market is generally works on limited user interactivity with static contents. In this paper, a new approach is proposed using computer vision based dynamic audience adaptive cost-effective digital signage system. The proposed design uses the Camera attached Raspberry Pi Open source platform to employ the real-time audience interaction using computer vision algorithms to extract facial features of the audience. The real-time facial features are extracted using Haar Cascade algorithm which are used for audience gender specific rendering of dynamic digital signage content. The audience facial characterization using Haar Cascade is evaluated on the FERET database with 95% accuracy for gender classification. The proposed system, developed and evaluated with male and female audiences in real-life environments camera embedded raspberry pi with good level of accuracy.

• International journal of advanced smart convergence
• /
• v.11 no.2
• /
• pp.71-76
• /
• 2022

The continuous development of virtual reality technology in the last five years has brought about a big change in the future film industry. Interactive VR movies using virtual reality technology in movies showed the result of increasing the immersion of the audience due to the characteristics of interaction. This will provide a unique opportunity for a new experience of immersion in various forms of cinema in the near future. In this paper, the interaction of narrative VR movies was studied as an example of the movie , which won the [The Best VR Experience Award] at the Venice International Film Festival, In future development, improve the scene transition, Dizziness, Ways of interaction and other questions, let the audience increase the sense of participation, immersion and curiosity when watching movies, and make watching movies a more interesting thing in life.

• 한국게임학회지
• /
• v.6 no.1
• /
• pp.70-72
• /
• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of Information Technology Services
• /
• v.11 no.2
• /
• pp.229-242
• /
• 2012

The MICE(Meeting, Incentive travel, Convention, and Exhibition) industry grows steadily. Especially, exhibition industry plays an important role as the effective sales and marketing tools. However, lots of studies have focused on the flow analysis of audience traffic, booth recommendation or formulaic interactions between audiences and contents in the exhibition hall. In this study, we proposed an intelligent Interactive system considering audience's response for providing personalized exhibition service. First, we extracted components of the system architecture through the previous studies. Second, we suggested the system architecture and scenarios for intelligent interactions between audiences and contents. We hope that the proposed system will strengthen the basis for implementing interactive system in the exhibition industry.

• Korean Journal of Adult Nursing
• /
• v.14 no.2
• /
• pp.276-286
• /
• 2002

Purpose: The concept of embarrassment as an unpleasant emotion is important in caring for those who are in the continuum of illness and health requiring body care and facing sexual problems. In spite of its nursing implication, embarrassment has not been focused in nursing research. Therefore, the purpose of this paper is to develope a conceptual analysis of embarrassment. This analysis would help to understand comprehensively an embarrassing situation in which an intimate relationship between nurse and patient regarding body care of the patient could develope. Futhermore, it would be a basis for developing strategies for prevention of embarrassment which could lead for both patient and nurse to emotionally vulnerable situation because of their failure of self-presentation (impression management). Method: The concept analysis model suggested by Walker and Avant (1988) is used to clarify what is meant by the term 'embarrassment'. Result: This analysis defines the attributes of embarrassment such as follows. First, embarrassment is often attributed to situational factors interrupting a smooth interaction such as intimacy, confusion, vulnerability, exposure of interaction and characteristics of audience. Second, embarrassment is closely related with cognitive factor such as fear of losing face resulted from a behaviour being out of line. Third, embarrassment is closely associated with dispositional factor such as embarrassability. Fourth, embarrassment is an unpleasant and unwanted emotion arising reactively after an interaction had occurred. Fifth, embarrassment encloses physical, physiological and behavioral aspects such as a variety of unique and easily noticeable reactions and a pattern of verbal and non-verbal behaviour for coping in an embarrassing situation. The antecedents were normally socialized adolescents with normal cognitive ability, concern of losing face, embarrassability, embarrassing events related with situational intimacy, confusion, vulnerability, exposure of interaction and characteristics of audience, physical, behavioral blunders resulting in a failure of impression management. The consequences were an emotional coping behaviour, audience's embarrassment responses, and verbal and non-verbal coping strategies of interactional participants. Conclusion: It is hoped that this analysis will stimulate further exploration of this concept and study for developing systematic assessment and nursing practice that diminishes embarrassment of interactional participants.

• Proceedings of the Korea Society for Industrial Systems Conference
• /
• 2008.10b
• /
• pp.235-245
• /
• 2008

The interactive advertisement is already on satellite and cable broadcasting hereafter the introduction of this system is concerned on terrestrial programs. This study is to research the effectiveness of interactive TV advertising focusing on factors of involvement and interaction. Study started for the effect measurement of interactive television advertisement. Interactive television advertisement has different concept than existing television advertisement. Thus, the effect also needs to examine in other methods. Study is mainly focusing on the characteristics of interactive and the experiments, which was based on existing data, for measurement of effect. In the experiments, the characteristics were categorized in a search time, a number of searched pages about interactive television advertisement. The research finds that the involvement of the audience increases when the interaction of advertising attitude, brand attitude, and purchase intentions also increases. And so, a successful interactive TV advertisement results in longer searching hours and greater it visits by the audience when the interaction factors are considered and increased. By study of consumer's characteristics and behavior, a new method of the effect measurement for interactive television advertisement is provided. The new method includes not only existing measurement elements of television advertisement which are attitude on advertising and brand, and customers' purpose, but also the features of interactive television advertisement, which are search time, a number of searched pages. Recently added features provides data of the effect on high/low groups and it contributes to the process of interactive television advertisement. Study on interactive television advertisement will be helpful to plan an effective strategy by suggesting the theoretical evidence of its effect.

• Journal of Korea Multimedia Society
• /
• v.19 no.5
• /
• pp.932-938
• /
• 2016

Recently, interactive media which maximizes audience engagement by making the audience appeal on a stage in digital media environment has been distributed more widely. In fact, there has been active movement to develop and promote a new participatory media genre with higher immersion by applying this kind of interactive media concept to advertisement, film, game and e-learning. In the conventional interactive media, digital media had to be enjoyed in particular environment where diverse sensors were installed or through a certain device to recognize a user's motion and voice. This study attempted to design and implement an image creation system which ensures interactions between a user and media in popular distribution-enabled web environment and through PC and smart devices to minimize the image producer-user constraints.

• Science of Emotion and Sensibility
• /
• v.8 no.4
• /
• pp.423-433
• /
• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Cross-Cultural Studies
• /
• v.26
• /
• pp.405-444
• /
• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.