• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• Trans-
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• v.9
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• pp.67-92
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• 2020

The development of social platforms and digital technology has promoted the age of the communication in our society. As online communication has become commonplace, expressing feelings, thoughts and experiences on the Internet has become an everyday routine. Among them, SNS is one of the representative platforms for expressing oneself easily and interacting with other users. The way of communicating with the SNS about what they did and what experiences they experienced from one's everyday lives became more common. As a result, the museum makes various efforts to enhance visitors' attention and interest with the use of SNS. It provides a content-based programs and museum environment that allow visitors to enjoy playing and learning at the same time. This study will explore not only a simple appreciation, but also the way of communicating to everyday life in terms of the changes for museum environment through the development, implementation and adaptations of digital technology. Through this, mobile-based communication with SNS provides various values and quality of museum visit, can be completed with meaningful museum experience, and various roles and functions of the museum are examined in terms of social platform of experience.

• Journal of the Korea Convergence Society
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• v.12 no.3
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• pp.99-106
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• 2021

This study aims at analyzing the web sites for 2020 art college graduation exhibitions to derive implications that should be considered for future online exhibitions. Fifteen web sites for graduation exhibitions of domestic visual design majors will be selected to analyze the usability of the web sites in the stages of arrival-search-appreciation-communication. The spread of online exhibitions accelerated by the coronavirus pandemic presents issues that were not covered in offline exhibitions. Based on the commonalities and peculiarities of graduation exhibitions by college, implications for mature and rational graduation exhibitions will be suggested.

• Journal of the Korea Society of Computer and Information
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• v.24 no.3
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• pp.49-56
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• 2019

The purpose of this study is to analyze the characteristics and meanings of Instagram hashtags related to the exhibitions as a online communication platform of museums. At the same time, it focuses on efficiency of hashtags as a reference framework of inferring viewing experiences. We collect and visualize Instagram hashtags of exhibitions held in Korea for the past two years including 'Paper Present (2017)', 'YOUTH (2017)', 'Monet, Draw Light Exhibition (2018)', 'Van Gogh Inside (2016)', 'Drawn by the Wind: Shin yun-bok & Jeong Seon'. To sum up, significant data related to viewing experiences are not derived, and hashtags as a reference framework of inferring viewing experiences are turned out to be inefficient. Meanwhile, we conclude that potential for distributing information about the exhibitions is inherent in hashtags. In terms of informational characteristics, we notice that the influence of hashtags related to regional information is presented more than the response toward the viewing experiences. This result shows that Instagram users in the exhibitions are worthy of place making rather than viewing experiences.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.268-276
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• 2022

This study examined whether K-pop dance is qualified as an academic subject and how university students perceive K-pop dance as a liberal art subject. The survey was conducted with 138 students. Among the total of 138, 40 participants were male, and 53 participants were female. Fourteen(14) participants had experience with K-pop classes, and 124 participants did not have any experience with K-pop dance classes. According to the study, K-pop is a form of Korean culture that adds unique cultural and social characteristics to Koreans. It is in the cultural and art education category. In addition, K-pop dance is a socio-cultural phenomenon characterized by dance. However, K-pop dance is not qualified as an academic subject because it lacks theoretical foundations. The survey result also revealed that the students did not perceive that K-pop dance had personal, aesthetic, social, or educational value. They did not want to take a class if K-pop dance is offered as an academic subject in liberal art class. When analyzing the data by gender and experiences with dance classes, there was a difference based on gender in the two questions. In the case of females, they responded to having fun and joy from K-pop dance, while male respondents did not. Regarding the learners' interest in Kpop dance class, female respondents were more optimistic about the learner interest than male respondents. In conclusion, K-pop dance is a sociocultural phenomenon, and many informal online courses are created daily, spreading everywhere. However, the status of K-pop dance as an academic area is not set up yet.

• The Korean Journal of Health Service Management
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• v.7 no.2
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• pp.161-177
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• 2013

This study aims to provide basic evidence for establishing prevention programs of school' mental health by identifying the factors of middle and high school student's depression and suicidal ideation related to stress of peer-relationship. For this purpose, we analyzed the data of 6,924 (who Experienced stress related to peer-relationship) among the 2012 Korean Youth Health Risk Behavior Online Survey(8th). In demographic characteristics, subjective academic achievement affects depression in the case of girls. In health-related characteristics, medical treatment by violence, drinking experience, smoking experience have an effect on depression in the case of boys. Subjective health, drinking experience, smoking experience, drug experience are the factors affecting suicidal ideation both boys and girls. In order to promote mental health of youth, school-based prevention education complementing existing realistic problems needs to be implemented.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.223-237
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• 2022

The purpose of this study is to examine the influence of the presence and transportation of the experience of seeing a musical upon satisfaction and verify the mediating effect of emotional responses. For this study, the researcher surveyed the audiences of a musical and analyzed the response from 339 participants. The data were analyzed using SPSS 23.0 and AMOS 23.0 programs. The findings of this study are as follows; First, the presence and transportation of the experience of seeing a musical had a significant impact on emotional responses. Second, the presence and transportation in the experience of seeing a musical had a significant impact on satisfaction. Third, the emotional responses to the musical had a significant impact on satisfaction. Fourth, emotional responses were shown to have a mediating effect in the relationship between the presence and transportation of the experience and the satisfaction with it. As the share of online performances in performing art industries is increasing and the paradigm of seeing a performance is changing, this study implies that it provided a set of basic data for the industry and producers of such events, who are now seeking a new profit model through not only in-person events but also online performances in the future.

• Journal of the Korea Society of Computer and Information
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• v.27 no.2
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• pp.71-80
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• 2022

Using the TAM, this study investigates the impact of Perceived Usefulness(PU), Perceived Ease of Use(PEOU) of the Animal-Crossing users on game satisfaction(DOS), immersion(DOI), and the relationship between user's attitude and intention through the google online survey. The decorative elements of the game generate a healing effect and more than half of the survey participants share game activities with the online community in terms of PU. In the case of PEOU, the survey participants positively evaluate the technological advancement such as graphics and sounds of the game. In addition, both high degree of satisfaction and immersion in the game have significant correlations with the intention for replaying the game and intention for recommending the game to others.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.19-36
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• 2021

Real-time two-way communication has become an important factor in the relationship between consumers and broadcasters in the Live Commerce environment. To clarify, the relationship of the factors, and the effect of Live Commerce's on consumer purchase intention were examined. In addition, the role of Wanghong, who broadcasts Live Commerce and Co-experience that occurs between consumer and broadcasters influences consumer purchase intention. An online survey method was conducted for 403 subjects in their 20s that were Live Commerce users in Shanghai, Beijing, and Guangzhou, China. The number of final the data used for the analysis was 274 and anlaysis was conducted using SPSS 26.0 program and a Sobel test was employed. Based on the analysis of the data, it was found that Live Commerce's characteristics consisted of interactivity, security, and Wanghong's characteristics consisted of honesty, originality, and expertise. Also, it revealed that Co-experience was consisted of responsiveness and vividness. Second, for Live Commerce's characteristics, the Wanghong's characteristics, and Co-experience had a positive effect on the consumers' purchase intention. Third, the Wanghong's characteristics and vividness, a factor of Co-experience, had significant mediating effects on the relationship between Live Commerce's characteristics and the consumers' purchase intention. Finally, responsiveness of Co-experience had a noteworthy mediating effect on the relationship between the interactivity of Live Commerce's characteristics and the consumers' purchase intention. This study confirmed the important role of Live Commerce's characteristics, the Wanghong's characteristics and Co-experience in relation to the consumers' purchase intention. In addition, the Wanghong's characteristics and Co-experience were proposed as a significant mediating factors.

• Smart Media Journal
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• v.11 no.6
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• pp.37-50
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• 2022

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.