• Journal of Korea Game Society
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• v.21 no.3
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• pp.79-90
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• 2021

Currently, for teenagers, the metaverse is becoming an important space for communication and experience. Due to the development of AI technology, experiences in the metaverse space are diversifying, which means that experiences in the virtual world can affect the real self. Therefore, this study attempted to examine the necessity of establishing a new concept of empathy across the metaverse for the AI era. In accordance with literature studies related to empathy, one was confirmed that the concept of empathy has been changing according to social ideas in times. In addition, with the result of the analysis of recent research trends, it was considered that the current study of empathy is generally taking a view as a measure of 'upright sociality.' In the end, this study suggest the necessity of redefined empathy in order to cultivate upright sociality in the metaverse.

• Journal of Multimedia Information System
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• v.6 no.4
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• pp.309-316
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• 2019

Virtual Reality is broadly recognized as an "empathy machine". This reputation is due to the feeling of 'presence' that it provides to users, which is the sensation of being bodily present in a space, even when that space is virtual. The possibility of complete immersion attracts many creators looking to induce empathy and awareness about the most diverse subjects. One of the first types of VR non-fiction productions to be released was in the morally sensitive humanitarian documentary genre. This research aims to explore how VR productions differ from non-VR productions with a focus on humanitarian communication. Rather than targeting mechanical aspects of VR technology, this article compares the visual and narrative storytelling characteristics in VR and non-VR media. First, humanitarian communication and its nuances are explained. Then, 360° video filming characteristics are analyzed, followed by a comparison table contrasting VR and non-VR non-fiction. After evaluating VR non-fiction empirical studies, a discussion is initiated over the betterment of VR non-fiction storytelling in a way that could help it generate more empathy, since many productions seem to purely rely on the technology as a production novelty, and end up lacking emotional depth and audience engagement through story.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.87-99
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• 2021

As face-to-face social exchanges are limited by the pandemic, the influence of the metaverse, a virtual space crosses virtual and reality, is gradually expanding. Various metaverse platforms are currently taking advanced AI technology to provide users with a more diverse experience. However, as a result, if AI-human communion in the metaverse space is as active as the relationship between humans, this may lead to side effects that threaten humanity. This study emphasized the value of empathy as a way to minimize the side effects, and suggested that the concept and role of empathy need to be expanded. Accordingly, we conducted an empirical study to examine the difference between social relationship in the metaverse and in real life at the current level, and based on the results, we predicted the future social relationship in the environment where AI was applied to the metaverse. Combining the study, we proposed "Digital Human Empathy" for human dignity in the digital age.

• Journal of the Economic Geographical Society of Korea
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• v.23 no.3
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• pp.262-275
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• 2020

Due to the pandemic caused by Corona 19, cities around the world have faced a change. As the global economic system weakens, localization is increasing in the product production and distribution system. In addition, consumption patterns have changed in urban where localization has been strengthened. As a result, the way physical places are consumed is also changing. Consumption of large multi-use facilities has drastically decreased, the speed of the collapse of the online and offline boundaries has been accelerated, and the consumption of amenities for sharing tastes has become more subdivided, specialized, and private. A big change also appeared in the urban scene, which is perceived as the concentration of urban amenities. Local scale and locality became important in the urban scene, and a new urban scene element called empathy emerged. Empathy aims to connect socially and emotionally to individuals consuming urban amenities. The pursuit of connectivity, taste consumption, and nostalgia. In this study, the space for cultural consumption based on empathy was named as empathetic space and the concept was explained. The importance of empathic space in the urban scene in the future post-corona situation was presented.

• Journal of the Economic Geographical Society of Korea
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• v.22 no.2
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• pp.123-140
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• 2019

Empathy is the ability to feel, understand, and respond to the emotions of others from the standpoint of others. Recently, 'sympathy' has emerged as an important issue not only in emotional empathy in relation to individuals but also in 'social empathy', which sees sympathy as a basic principle for maintaining society. This study focuses on the issue of empathy as a new driving force for modern society and focused on 'urban scene' as a spatial application for cultural empathy in the city. Urban scenes approach the city as a space of consumption, classify it according to its inherent attributes, and analyze its characteristics. This study approaches the existing urban scene theory in terms of empathy. In addition, as a way to consume city images reflected on contents, a concrete example of 'contents tourism'is examined, and a 'contents scene' is proposed as a new urban scene and its meaning and possibility are presented.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.105-115
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• 2011

We are inundated with visual media; countless such media, ranging from Hollywood blockbusters, American drama, Korean films with enormous budgets to independent films, appeal to our sensibility and engage our empathy and insight. The making of mega-hits that attract millions and a drama of viewer ratings of over forty percent lies in how persuasive the sensibility of the narratives are to an audience from a different milieu and personality. It leads to a question: how can empathy of such a varied group of people be won towards the perspective of directors and authors who come from different nationality and ethnicity to themselves? In exploring the issue, I aim to adopt a psychoanalytical view of human psychology, into consciousness and unconsciousness. Freudian psychoanalysis and Jungian analytic psychology in depth psychology underpin my analysis of visual media. It further enables my examination of unconsciousness applied to spatial design, which is elementary in visual media. In sum, this research aims to improve understanding of spatial design in films, a product of creative human consciousness, by interpreting this as an outcome of the unconscious. This is to apply the concept of collective unconscious in Jung's analytical psychology.

• Electronics and Telecommunications Trends
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• v.39 no.2
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• pp.12-23
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• 2024

The Metaverse industry is developing rapidly, and related technologies are being actively improved. Tools such as controllers, keyboards, and mouses are used to interact in the Metaverse, but they are not natural and intuitive interfaces to resemble real-world interactions. Immersive interaction in a Metaverse space requires the engagement of various senses such as vision, touch, and proprioception. Moreover, in terms of body senses, it requires a sense of body ownership and agency. In addition, eliciting cognitive and emotional empathy based on non-verbal expression, which cannot be suitably conveyed to the digital world, requires higher-level technologies than existing emotion measurement solutions. This diversity of technologies can converge to build an immersive realistic Metaverse environment. We review the latest research trends in technologies related to immersive interactions and analyze future development prospects.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.67-76
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• 2010

Recently the trend that human emotions become central is strongly on the rise beyond functions in the area of space. In the present situation, the current study is to examine the characteristics of experiential space of emotions through an approach to space appearing in kinetic art paying attention to the fact that the new spatial expressions and forms of Kineticism lie in introduction of 'movement' as a phenomenon that humans who are main agents of experiences can perceive. For research methods, spatial expressions were proposed according to each characteristic extracting characteristics to create space through 'movement' of Kineticism, and the features of experiential space of emotion were elicited by analyzing sensible elements and perceptual characteristics which stimulate human sensitivity through expressive aspects of 'movement' appearing in the case. As a result, it was found that characteristics appeared including immersion through non-daily stimulation, empathy through visual·perceptual stimulation, syn-aesthetic experiences through stimulation of thinking senses, and perceptual activation through physical movement etc. Namely, the present study has its meanings in seeking another directions and possibilities as emotional space to activate experiencers' diverse perceptions and senses by analyzing the characteristics of experiential emotional space through 'movement' of Kineticism which is one of modern plastic arts.

• Journal of Family Relations
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• v.22 no.3
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• pp.73-101
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• 2017

Objectives: This study is to understand the experiences of overcoming pain of loss of family survivors in Suicide Bereavement Support Group(SBSG). Method: Experiential data was collected by in-depth interview(FGI, individual) to 10 family survivors(over 19) who having an experience participating in SBSG over 5months and analyzed using qualitative methodology. Results: We drew the result that 'SPACE model' which structuralize by 5 stages of suicide survivors' experience of SBSG of time path. SPACE model configured as follow: Stage1, Space in vacuum, the time to feel a sense of overwhelming feeling like pain, fear, alienation after loss of suicide, Stage2, Probing, when to find informations and resources to help survivors themselves, Stage3, Acclimation, having experiences empathy and healing as in SBSG, Stage4, Composure, accepting SBSG meaning as a part of their lives, loss of my family by suicide, and the beginning of bereavement, Stage5, Endurance, overcoming suffering through SBSG and try to help other survivors. Conclusions: SBSG is the opportunity for family survivors to overcome the pains from loss of suicide, shock, anger, grief, etc., and to empower them to help other suicide survivors.

• Journal of Korea Multimedia Society
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• v.19 no.3
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• pp.659-672
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• 2016

In animated films, characters materialize narratives through acting. The narrative is an element to materialize accurate delivery of lines and emotions. The non-verbal actions should express lots of emotions and lines in scenes, and also they can be used as a way of empathy. This study analyzed the visualization factors of narrative focusing on a cat character frequently shown in animated films. For this, the visualization factors of non-verbal actions expressed in characters' personal space and dynamic space were extracted. Based on this, it aims to suggest the emotion expressing method of characters to realize effective narrative visualization. In the future, it aims to be used as reference data in case when producing non-verbal communication for 3D characters.