• Journal of Digital Convergence
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• v.15 no.1
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• pp.191-198
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• 2017

The purpose of this study is to investigate the effect of viewing satisfaction on the reuse intention according to organizational competence. The results of the empirical analysis were as follows. First, satisfaction of visitors to culture and arts cooperative was found to affect re - use intention. Second, the organizational capacity of culture and arts co - operative association was found to affect re - use intention. Third, it was found that the satisfaction of audience of culture - arts co - operative association influenced re - use intention according to organizational capacity. Therefore, this study confirms the influence on the audience satisfaction and re - use intention of the culture - art cooperative association, and it is meaningful to provide the theoretical implication by confirming that the organizational capacity also has an influence on the re - use intention.

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

• Journal of Intelligence and Information Systems
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• v.19 no.1
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• pp.79-94
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• 2013

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience's reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person's reaction. The flow or "good feeling" from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience's reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience's reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience's active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience's surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, ${\alpha}$and ${\beta}$. Dynamic State Synchronization was meaningful when the movement value was over critical point ${\beta}$, while Static State Synchronization was effective under critical point ${\alpha}$. ${\beta}$ is made by audience' clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of "people having reaction" by "total people". Total 37 teams were made in "2012 Seoul DMC Culture Open" and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.9
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• pp.543-551
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• 2016

Recently, the cultural industry has become an attractive industry which is having a dramatic effect with the rise of Hallyu offering many possibilities for development. Specially, the marketing techniques employed by the performing arts industry started to change to respond to consumer tastes and demands like other commodity markets, as the popular performing arts industry began to receive attention as a promising industry. It is important to identify the behavior of consumers in order to actively deal with the demands and tastes of consumers that are becoming increasingly diverse and individualized. The performing arts market needs to recognize the importance of its audience and to apply appropriate marketing techniques. This study attempted to empirically identify the value of performing arts perceived by the audience and to investigate the influence of the relationship between the perceived value, attitude formation and satisfaction with performing arts. In order to examine the influence of the value of performing arts on attitude and customer satisfaction, a reliability analysis and factor analysis were conducted to investigate the dependability and validity of the measured variables. In order to achieve the study's intended purpose, the structural equation model (SEM) was utilized as the core analysis method. As a result, it was found that the perceived value and attitude towards performing arts have a positive effect on customer satisfaction. The results of this study are expected to be used as the basic data for organizations that plan performances to improve their marketing and promotion around the audience and for more specific and detailed research in the future.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.147-155
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• 2012

This study is to analyze the difference of the post-viewing emotion and behavior of the audience at a dance performance by general characteristics of the audience. To attain the goal of the study described above paragraphs, the audience of dance performance located in Seoul and Kyoungki-Do was set as a collected group. Then, using the convenience sampling method, finally drew out and analyzed 280 people in total. statistic analysis techniques were used SPSS 18.0 program. Based on the statistical methods above, we had the result of data analysis as follows; First, among the general characteristics(job, viewing frequency, dance experience, and genre), had significantly effect on the post-viewing emotion(positive emotion, satisfaction) Second, among the general characteristics(job, viewing frequency, dance experience, and genre), all the factors had significantly effect on post-viewing behaviors(researching, respectating intention).

• Korean Journal of Health Education and Promotion
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• v.20 no.1
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• pp.187-202
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• 2003

The conveyance of health information through mass media is becoming more popular, even through recreation at television programs. This study aims to investigate the influence of health related TV programs for recreation on a practice action of health behavior. In particular, the relationship between attitude, belief, and behavioral practice of the TV audience is explored. Data was collected from 200 respondents for two weeks in May, 2002. The results showed that the motive of the TV audience for watching TV recreation programs was either entertainment or fun. They satisfied with the programs in general. However, the rate of desirable health behavior practice after watching those programs was low. The degree of practice was significantly correlated with belief, satisfaction, and application possibility of the TV audience to the program. In addition, two personal factors such as gender and subjective evaluation of personal health status were significant in influencing health behavior. The appearance of experts on programs was the most important factor influencing the belief of an audience. This implies that audiences want to have the health information fulfilling scientific evidences. It is suggested that TV recreation programs would be beneficial to most audience members for in receiving important health information, only if recreation and interest factors in the program as well as the evidence-based health information and knowledge are successfully combined.

• The Journal of Society for e-Business Studies
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• v.21 no.2
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• pp.1-22
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• 2016

News contents has been collected, selected, edited and sometimes distorted by the news recommendation mechanisms of online portals in nowadays. Prior studies had not confirmed the consensus of newsworthiness, and they had not tried to empirically validate the impacts of newsworthiness on audience reactions. This study challenged to summarize the concepts of newsworthiness and validate the impact of representativeness of both editor's and audience's perspective on audience reactions as perceived news quality, trust on news portal, perceived usefulness, service satisfaction, loyalty, continuous usage intention, and word-of-mouth intention by adopting the representativeness heuristics method and information adoption model. 357 valid data had been collected using a scenario survey method. Subjects in each groups are exposed by 3 news recommendation mechanisms: 1) the time-priority news exposure mechanism (control group), 2) the reference-score-based news recommendation mechanism (a single treatment group), and 3) the major-news-priority exposure mechanism sorting by the reference scores made by peer audiences (the mixed treatment group). Data had been analyzed by the MANOVA and PLS method. MANOVA results indicate that only mixed method of both editor and audience recommendation mechanisms impacts on perceived news quality and trust. PLS results indicate that perceived news quality and trust could significantly affect on the perceived usefulness, service satisfaction, loyalty, continuance usage, and word-of-mouth intention. This study would contributions to empathize the role of information technology in media industry, to conceptualize the news value in the balanced views of both editors and audiences, and to empirically validate the benefits of news recommendation mechanisms in academy. For practice, the results of this study suggest that online news portals would be better to make mixed news recommendation mechanisms to attract audiences.

• The Journal of Information Systems
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• v.28 no.4
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• pp.223-250
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• 2019

Purpose As the 4th Industrial Revolution proceeded, attempts to direct and utilize information technology such as robots and drones in plays have been active. Information technology, such as AI or media art, which is applied in the production of theater productions, shapes the possibility of expressing the difficulty of actors, the effectiveness of dramatic effects, and the illusion. Despite the inconsistent effects of information technology on theatrical studies, little has been done despite the fact that the research on what factors affect the audience's satisfaction through the play. Hence, The purpose of this study is to demonstrate the characteristics of information technology and theater, especially audience's revisit intention. Design/methodology/approach The research model combining the theory of task-technology fit and the experience-economic model is presented. Findings The results of the empirical analysis suggest that the fit of information technology and theatrical task enriches the audience's experience and has a beneficial effect on the dissemination and export of contents management of art management in terms of revisit as a consumer and production of theatrical performing arts. This leads to the conclusion that task-technical fit and experiential economy could be applied to the field of performing arts in theater. It may also give useful implications to related producers such as producers, directors, and actors.

• Journal of Korea Society of Digital Industry and Information Management
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• v.10 no.1
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• pp.147-155
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• 2014

The rapid increase in the penetration rate and diverse utility of smart devices opens an opportunity for a development in creating a user-oriented ubiquitous system. And it allows audiences to deploy the exhibition-helping contents regardless of the restriction of place and time with using the smart devices of audience themselves. Also it needs to build a mobile web-based portal system for the related services. To do this, Firstly, it needs the corresponding strategies on a smartphone-based environment such as technical competence, systematic preparation of exhibition with compatible mobile contents, and a compatible channel for interactivity. Secondly, it needs the differentiation of exhibition guide with the existing system: an adoption of augmented reality, panoramic technology and simulation effect aiming for an improvement in a sense of immersion and reality for audience, and building up additional contents with a diversity of formats of image, sound, and video for customer satisfaction.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.75-100
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• 2013

An on-going creative process was the major principle of Kantor's artistic endeavors. Kantor's emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor's belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor's theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor's attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.