• Journal of Korea Game Society
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• v.18 no.2
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• pp.5-14
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• 2018

Main purpose of this research is to discuss relationship between digital art works and audience by expansion of Body Schema from Maurice Merleau Ponty's viewpoint, and artistic value of digital art works also became discussed in this research, based on Heidgger's concept called 'Defamiliarization'. We found this 'Defamiliarization' became an important role of digital art works caused by interaction between arts and audience. And we also discussed audience's role as a poet, being-in-between in between the earth and the world, gods and mortals called Heidegger's 'fourfold'. As a conclusion, this unique experience compared to other works is called "A shamanic experience", as an artistic value in interactive digital art works.

• Journal of Korea Game Society
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• v.11 no.2
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• pp.29-37
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• 2011

As a field in Digital Arts, interactive video introduced the mirror metaphor to the foundation of media, given its characteristic as a medium that extracts an audience image in a particular perspective. The interactive video work introduced in this paper addresses conceptual topics in the extension of Zhuangzi's Butterfly Dream and illustrates the technological approaches that employ an intensity-based computer vision processing in order to obtain the silhouette of audience for multiple graphical butterflies to draw an audience image. Users generate narratives in the interaction with the projected image. Sound is used in order for the system to provide augmented perception in the space and to add more rooms for narratives. The computer vision and the graphics methods introduced in this paper are suggested as tools for interactive video.

• Journal of Intelligence and Information Systems
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• v.18 no.1
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• pp.39-57
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• 2012

Recently, due to the introduction of high-tech equipment in interactive exhibits, many people's attention has been concentrated on Interactive exhibits that can double the exhibition effect through the interaction with the audience. In addition, it is also possible to measure a variety of audience reaction in the interactive exhibition. Among various audience reactions, this research uses the change of the facial features that can be collected in an interactive exhibition space. This research develops an artificial neural network-based prediction model to predict the response of the audience by measuring the change of the facial features when the audience is given stimulation from the non-excited state. To present the emotion state of the audience, this research uses a Valence-Arousal model. So, this research suggests an overall framework composed of the following six steps. The first step is a step of collecting data for modeling. The data was collected from people participated in the 2012 Seoul DMC Culture Open, and the collected data was used for the experiments. The second step extracts 64 facial features from the collected data and compensates the facial feature values. The third step generates independent and dependent variables of an artificial neural network model. The fourth step extracts the independent variable that affects the dependent variable using the statistical technique. The fifth step builds an artificial neural network model and performs a learning process using train set and test set. Finally the last sixth step is to validate the prediction performance of artificial neural network model using the validation data set. The proposed model is compared with statistical predictive model to see whether it had better performance or not. As a result, although the data set in this experiment had much noise, the proposed model showed better results when the model was compared with multiple regression analysis model. If the prediction model of audience reaction was used in the real exhibition, it will be able to provide countermeasures and services appropriate to the audience's reaction viewing the exhibits. Specifically, if the arousal of audience about Exhibits is low, Action to increase arousal of the audience will be taken. For instance, we recommend the audience another preferred contents or using a light or sound to focus on these exhibits. In other words, when planning future exhibitions, planning the exhibition to satisfy various audience preferences would be possible. And it is expected to foster a personalized environment to concentrate on the exhibits. But, the proposed model in this research still shows the low prediction accuracy. The cause is in some parts as follows : First, the data covers diverse visitors of real exhibitions, so it was difficult to control the optimized experimental environment. So, the collected data has much noise, and it would results a lower accuracy. In further research, the data collection will be conducted in a more optimized experimental environment. The further research to increase the accuracy of the predictions of the model will be conducted. Second, using changes of facial expression only is thought to be not enough to extract audience emotions. If facial expression is combined with other responses, such as the sound, audience behavior, it would result a better result.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.121-125
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• 2008

Media art is developing the art of 'interaction' that get meaning through communicating an audience. Now, media art got the title named interactive media art, but its concept is not clear In this study we divided into two classes - passive and active interactive art. Passive interactive art had the interaction 'participation of communication' and had flat and limited features. Active interactive art meant that an audience played with works actively and found significances between artworks and themselves. Through analysis of case study, we verified a propriety about own interactive art's division. Especially, the active interactive art was very important. The western classical metaphysics seemed to be not perfect in analysis of active interactive art. We tried to analyze active interactive art more perfectly by using the oriental philosophy.

• Journal of Korea Multimedia Society
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• v.24 no.5
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• pp.727-735
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• 2021

The purpose of this study is to evaluate visual arts in interactive technology in art museum applications and to analyze the impact relationship between interactive technology and the five senses. This study was conducted to survey respondents who had used art museum applications. The results are as follows. First, this study evaluates the differences in perception of art museum applications according to the general characteristics of the respondents. They show that there are differences in gender, marital status, age, and social income. Second, this study identifies the impact of five senses and synesthesia on interaction design among emotional design elements. They reveal that visual, auditory, tactile components, and synesthesia have significant effects on interactive design. This study reveals that emotional design elements of art museum applications affect interaction design. Also, it suggests that research on interaction design reflecting five senses is continuously needed to improve audience satisfaction and revitalize art museum applications.

• Journal of the Korea Convergence Society
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• v.11 no.6
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• pp.15-21
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• 2020

E-commerce live broadcast is a new online shopping model that has gradually emerged in China in recent years. In the e-commerce live broadcast, the audience gathered into a buying group by watching and participating in virtual interaction, and obtained stable emotional energy from it. Closely following the concept of emotional energy, with the help of the interaction ritual chain model, the components of e-commerce live broadcast can be clarified. And the paper shows how individuals can form a buying group in social interaction. I will take the interaction behavior in e-commerce live broadcast as the research object and observe the phenomenon based on the theory of interaction ritual, then come up with the interaction ritual chain model of E-commerce live broadcast group.

• Korean Management Science Review
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• v.32 no.2
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• pp.125-143
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• 2015

When studying the film industry, researchers have seldom addressed the dynamic interaction between marketing information and word of mouth in the motion picture industry mainly because of the limitation of traditional research methodologies. This study explores integration and competition among important variables influencing on audience's choice on movie selection, particularly by using a new method of agent-based modeling including competitive environment. Decision process of moviegoer composed of transition probability based on multinomial logit model, considering marketing and box-office information, critique, and word of mouth from other moviegoers. After validating the fitness of market share among released movies, this study conducted a set of simulation experiments considering several variables such as market size, change of weight between variables, and movie performance under competition. Propositions are derived from the simulation results is also suggested for future research.

• International Journal of Contents
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• v.9 no.3
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• pp.55-61
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• 2013

The Korean films in the 1980s played an important role in impeding the interaction between the media and the audience. In terms of two mechanisms of money and power, the Korean films lost the function of publicity and were forced to disregard positive aspects of culture as a way of understanding society. As a mass medium, the film did not give people the space for critical thought and discussion on social reality. This study tries to discuss how Korean movies in the 1980s functioned as a bulwark of critical debate provided by the interaction between cultural texts and audiences through the notion of the public sphere. For Habermas, the public sphere provides a basis for critical analysis in order to reveal the relationship between media and economic and administrative power in a modern society.

• Korean journal of communication and information
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• v.73
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• pp.7-34
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• 2015

This study attends to the effects of political entertainment as a newly emerging television genre on citizens' political talk. Particularly, this study suggests audience involvement and political information efficacy as key psychological factors that mediate the relationship between political entertainment and political discussion. More specifically, audience involvement was deemed as a conclusive concept that consists of such sub-dimensions as audience identification and parasocial interaction with program characters and transportation into the messages. Among 317 participants in an online survey, a total of 273 subjects, who had at least some viewing experience with political entertainment TV programs, were included in the final analysis. According to the findings, softer programs that piggyback political information on top of their entertainment content were more likely to increase viewers' identification and transportation. The viewer experience of identification further heightened the level of political information efficacy, which in turn positively contributed to one's willingness to participate in political talk and to hear the other side. It also appeared that political information efficacy significantly mediated the relationship between political entertainment viewing and political talk.