• 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 Institute of Landscape Architecture
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• v.44 no.1
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• pp.1-15
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• 2016

The purpose of this study is to suggest an improvement plan for the waterfront by conducting an empirical analysis of users of the city's waterfront. For this purpose, this study conducted a field investigation and questionnaire survey on the waterfront of Sincheon, Daegu Metropolitan City. Based on this, this study investigated the importance and satisfaction levels of environmental factors according to the purpose of using the waterfront and proposed the improvement plans through an ISA(Importance-Satisfaction Analysis). The analysis results are as follows. In the case of using the waterfront for exercise, 'The division of bicycle trails and promenades' had the highest level of importance, while satisfaction level for items with 'Convenience facilities such as vending machines, toilets and water fountains' was found to be the lowest. In the case of using the waterfront for leisure and relaxation, 'Tree shade' had the highest level of importance, and the satisfaction level of the item on 'Whether to hold events such as exhibitions' was lowest. The ISA results showed that when the waterfront was used for the purpose of exercise, leisure and relaxation, items such as 'Convenience facilities such as vending machines, toilets and water fountains', 'Cleanliness of space and water quality' and 'Water quality management' had a high level of importance, but had a low level of satisfaction, which suggests that they should be improved on a preferential basis. Next, items requiring intensive improvement for exercise purposes were 'Tree shade', 'Rest facilities such as benches and pergolas', 'Width of bicycle trails and promenades' and 'The division of bicycle trails and promenades'. Leisure and relaxation found that 'Lighting facilities' require improvement. It is expected that if a river improvement project is implemented based on the above results, effective financial commitment and investment will be made.

• Journal of The Korean Association For Science Education
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• v.37 no.6
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• pp.1005-1014
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• 2017

Focusing on the role of the science museum as an institution to improve the scientific literacy of the public, this study investigated public perception and behavior about science museum to know how much science museums affect the public by using social media big data analysis. For this purpose, we extracted texts containing 'science museum' in Naver blogs and Twitter, analyzed them by using network, frequency, co-ocurrence, and semantics analysis and compared them with the results in English speaking countries. As a result, blogs were mainly concerned with science museum among parents who have young children, while in Twitter posts from many students who visited as a group appeared. Therefore, the Korean public used science museum mainly as a space for children's experience, and in this case, programs and exhibitions of science museums are perceived positively. On the other hand, students who visited as a group showed some negative emotions. The result of comparison with the cases of foreign countries in terms of the function of the third generation science museum such as communications with the science museum and the public and the participation of the public in science, the Korean public hardly mentioned the scientific contents, words related to communications such as 'argue', and curators or staff after visiting the science museum. In contrast to many verbs related to meaningful activities such as 'learn', 'participate', 'listen', 'read', 'ask', 'think' appeared in English, only a small number of verbs include 'ask' and 'thin' appeared in Korean. Therefore, science museum need to improve impression, communicating with public, and involving activity with impact and variety after visit.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.178-185
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• 2011

The recent development of 3D and its application contents have made it possible for people to experience more various 3D contents such as 3D/4D, VR, 3D ride film, I-max, sensory 3D games at theme parks, large-scale exhibitions, 4D cinemas and Video ride. Among them, Video ride, a motion-based genre, especially is getting more popularity, where viewers are immersed in and get indirect experiences in virtual reality. In this study, the production process of the genre of sensory 3D image getting attention recently and ride film are introduced. In the material selection of 3D images, the space and the setting up which is suitable to the fierce movement of rides are studied and some examples of the realization of creative direction ideas and effective technologies using the functions of Stereo Camera which has been first applied to MAYA 2009 are also illustrated. When experts in this 3D image production create more interesting stories with the cultural diversity and introduce enhanced 3D production techniques for excellent contents, domestic relevant companies will be sufficiently able to compete with their foreign counterparts and further establish their successfully unique and strong domains in the image contents sector.

• Trans-
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• v.12
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• pp.223-244
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• 2022

The rapid change of the culture and art environment is led to new art & cultural education and differences in culture and art education facilities, away from the traditional closed space culture and art education. Phenomena such as plays out of the theater, exhibitions out of the art museum, and pictures taking a walk indicate that cultural and artistic educational facilities can no longer stay in the existing paradigm and are changing along with the changes in the cultural and creative world. Therefore, to develop a site-specific theater education program centered around a specific place rather than a theater or studio, in line with the changing times of cultural and artistic educational facilities, this researcher analyzes Brecht's radio play experiment and the recent performative performance experiment. Furthermore, using the regional and community values of arts and culture education confirmed as the motive for research on site-specific theater programs, I analyze the implementation and application process by experimenting with theater programs out of the theaters and studios. As a prior study, research on site-specific performances is being conducted relatively actively, but earlier studies were dealing only with the Ligna group performance cases are lacking. However, I would like to use the previous research on site-specific performance cases as an epistemological background. As a result of the study, for the place-specific theater program through a total of 10 learners, a text based on a specific place was created that did not depend on traditional literary texts. Through this, the possibility of a site-specific theater education program could be confirmed.

• Journal of Environmental Impact Assessment
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• v.32 no.3
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• pp.187-194
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• 2023

This study identified how users of Gwanghwamun Square perceive the space and derived the spatial attributes of Gwanghwamun Square. There are four spatial attributes of Gwanghwamun Square: preservation of the historical environment, beauty of the surrounding landscape, suitability as a resting place, and activation of recreation. The first attribute, preservation of the historical environment, refers to the spaces that reflect the unique characteristics of Gwanghwamun Square and resonate with culture, including the Blue House, Bukaksan Mountain, Gyeongbok Palace, Yukjo Street, King Sejong, and Yi Sun-sin. The second attribute, beauty of the surrounding landscape, is related to the provision of abundant greenery and natural environment without disturbing the surrounding landscape, and includes landscape, sky, and greenery. The third attribute, suitability as a resting place, refers to various landscape facilities and services to enhance visitor comfort, including tables, chairs, shade, planters, rest areas, and fountains. Finally, recreational activation. This is the provision of various experiences, including exhibitions, performances, experiences, and sightseeing. Utilizing the attributes of Gwanghwamun Plaza derived from this study, it will provide important implications for the reconstruction of Gwanghwamun Plaza if future studies on valuation and estimation of Gwanghwamun Plaza are conducted to verify the differences in preferences by type.

• Journal of Internet of Things and Convergence
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• v.10 no.2
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• pp.85-91
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• 2024

In this paper, we studied projection mapping, which is being utilized as a digital canvas beyond space and time for theme parks, mega events, and exhibition performances. Since the existing projection technology used for fixed objects has the limitation that it is difficult to map moving objects in terms of utilization, it is urgent to develop a technology that can track and map moving objects and a real-time dynamic projection mapping system based on dynamically moving objects so that it can respond to various markets such as performances, exhibitions, and theme parks. In this paper, we propose a system that can track real-time objects in real time and eliminate the delay phenomenon by developing hardware and performing high-speed image processing. Specifically, we develop a real-time object image analysis and projection focusing control unit, an integrated operating system for a real-time object tracking system, and an image processing library for projection mapping. This research is expected to have a wide range of applications in the technology-intensive industry that utilizes real-time vision machine-based detection technology, as well as in the industry where cutting-edge science and technology are converged and produced.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• The Korean Journal of Archival Studies
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• no.33
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• pp.85-112
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• 2012

Group for the People without History(GPH) was launched at September 2002 and had worked for around five years with the following purposes; Firstly, GPH collects first-hand data on people's everyday lives based on fieldworks. Secondly, GPH constructs digital archives of the collected data. Thirdly, GPH guarantees the accessibility to the archives for people. And lastly, GPH promotes users to utilize the archived data for the various levels. GPH has influenced on the construction of archives on everyday life history as well as the research areas such as anthropology and social history. What is important is that GPH tried to construct digital archives even before the awareness on archives was not widely spreaded in Korea other than formal sectors. Furthermore, the GPH archives proposed a model of open archives which encouraged the people's participation in and utilization of the archives. GPH also showed the ways in which archived data were used. It had published forty seven books of people's life histories and five photographic books, and held six photographic exhibitions on the basis of the archived data. Though GPH archives had contributed to the ignition of the discussions on archives in various areas as leading civilian archives, it has a few limitations. The most important problem is that the data are vanishing too fast for researchers to collect. It is impossible for researchers to collect the whole data. Secondly, the physical space and hardware for the data storage should be ensured. One of the alternatives to solve the problems revealed in the works of GPH is to construct community archives. Community archives are decentralized archives run by people themselves to preserve their own voices and history. It will guarantee the democratization of archives.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.