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

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

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

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

• 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 Korea Game Society
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• v.12 no.1
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• pp.57-65
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• 2012

Interactive games allow users to obtain embodied experience using the bodies as controllers. The same is true in interactive media arts where users engage in active participation. In contrast to video games, physical body feedback is desired and such practice can be found in robotic arts. I suggest that interactive media arts and interactive games should share common foundations. In this context, I introduce and explain an interactive robotic art work implemented. This work is a musical instrument that employs a robot which travels sitting on two strings in response to audience positions. In results, the robot modulates the vibrations of the strings by causing the effective lengths of the strings changed. The robot uses an economic multi-cell proximity sensor in order to track the audience. In the interaction, phenomenological tension could take place in the performative narrative space. In this paper, I discuss this interactive robotic work in the context of interactive games with a few examples.

• Journal of Global Scholars of Marketing Science
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• v.17 no.3
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• pp.61-81
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• 2007

Recently, use of foreign models and foreign language in advertising is a general trend in Korea even though the effect has not been well-known..Most of the previous research shows rather an opposite effect claiming marketing communication is more effective when higher congruity between marketing communication and consumer's cultural values are achieved. However, the introduction of global culture due to the expansion of new media such as Internet or cable television makes the congruity not the best choice of marketing strategy. In addition, use of highly attractive models in advertising to increase the effect of advertising is general. However, recent studies show that targeted women audience tend to compare themselves to the highly attractive models and do experience negative sentiment. Bower (2001) proved the difference between 'comparer' and 'noncomparer' when women face highly attractive models. The results show that a comparer who has an intention to compare highly attractive model (HAM) with herself has a significantly negative effect on model expertise, product argument, product evaluation and buying intention. Therefore, HAM is not always a good choice and model attractiveness plays a role in the processing other cues or changing the advertising effect from result of processing other cues. The purpose of this study is to investigate the effect of the use of foreign language on the advertising response of the audience with regard of the model attractiveness. For the empirical study, the virtual advertising using foreign models (HAM, NAM), brand names and slogans(Korean, English) were used as stimuli. The respondents of each stimulus were 75('HAM-Korean'), 75('NAM-Korean'), 66('HAM-English') and 66 ('NAM-English') respectively. To establish the effect of marketing communication, the attitude for media(AM), the attitude for product(AP), targetedness(TD), overall quality(OQ), and purchase intention(PI) with 7 point likert scale were measured. The manipulation was verified to check the difference between HAM attractiveness assessment (m=3.27) and NAM attractiveness assessment (m=5.12). The mean difference was statiscally significant (p<.05). As a result, all consequences were significantly changed with model attractiveness, and overall quality evaluation(OQ) were significantly changed with language. The interaction effect from model attractiveness and language was significant on attitude toward the product(AP) and purchase intention(PI). To analyze the difference, the mean values and standard deviation of consequences were compared. The result was more positive when model attractiveness was high for all consequences. For language effect, the assessment was more positive when English was used for OQ. Considering model attractiveness and language simultaneously, HAM-Korean was more positive for AP and PI, and NAM-English was more positive for AP and PI. In other words, the interaction effect was confirmed by model attractiveness and language. As mentioned above, use of foreign models and foreign language in advertising was explained by cultural match up hypothesis (Leclerc et al. 1994) which claimed that culture of origin effect. In other words, in advertising, use of same cultural language with the foreign model could make positive assessment for OQ. But this effect was moderated by model attractiveness. When the model attractiveness was low, the use of English makes PI high because of the effect of foreign language which supported the cultural match up hypothesis. When the model attractiveness was low, the use of Korean made AP and PI high because the effect of foreign language was diluted. It was a general notion that the visual cues got processed before (Holbrook and Moore, 1981; Sholl et al, 1995) compared to linguistic cues. Therefore, when consumers were faced HAM, so much perception was already consumed at processing visual cues making their native language of Korean to strongly and positively connected with the advertising concept. On the contrary, when consumers were faced with NAM, less perception was consumed compared to HAM, making English to accompany cultural halo effect which affected more positively. Therefore, when foreign models were employed in advertising, the language must be carefully selected according to the level of model attractiveness.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.