• Journal of Korea Game Society
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• v.19 no.6
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• pp.117-132
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• 2019

This paper deals with the distinctiveness of interaction. The interaction discussed here is one that must be understood in philosophical context. The following is the procedure of this paper. First, reviewing the external properties of interaction, second, understanding the internal properties of interaction, third, grasping gamers' double-sidedness, fourth, the interpretation of meaning of gamers' interaction. In conclusion, The distinctiveness of interaction is an playful and ontological energy that turns the usual point of view on the basis of the double situation of the gamers.

• Journal of Information Technology Application
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• v.3 no.1
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• pp.51-76
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• 2001

최근 몇 년간 인터넷 네트워크상에서 운영되는 가상 기업이 늘어나고 있다. 그러나 이러한 발전과 더불어 많은 가상 기업의 실패 위험률 또한 성공률의 두 배를 웃돌 정도로 매우 높다. 본 논문은 기존 일반기업 평가 기준, 정보시스템 평가 기준 및 전자상거래 평가 기준의 틀 위에서 가상성이 동일한 가상 기업들을 비교 평가하기 위한 평가 기준을 AHP 분석 기법을 활용하여 제시하였다. 이들 평가 기준은 크게 이해관계자 집단의 상대적중요도와 경영적 측면(managerial aspect), 그리고 정보적 측면의 상대적 중요도의 2단계로 분류되었으며, 제2단계는 다시 다용인 평가를 하였다. 이 방법의 현실성을 보이기 위해 세 개의 공급사슬 형태의 가상 기업에 대해 비교 평가를 실시하였다.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.505-516
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• 2008

Image which appears in fashion illustration on the late twentieth century is not the representative image as an equivalence to the real fashion styles but the virtual image which bears no relation to any reality. The purpose of this study is review the concept of virtuality and analyze in which way virtual image is expressed in fashion illustrations on the background of Jean Baudrillard's simulacre theory. In post-modem paintings the expression methods of image-virtualization were image mixing through photo-image appropriation, image overlapping, and the icons inserted unreasonably, the focus-out effect through scrubbing and the over-painting on the photograph. Image-virtualization in fashion illustration was expressed through image mixing and expression of image uncertainty. Image mixing was made by photo-image appropriation, image overlapping, connection of heterogeneous images and using interface image, and uncertain image was expressed through the expression of visual ambiguity and virtual movement.

• Journal of the Speleological Society of Korea
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• no.79
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• pp.53-63
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• 2007

While cave being active it will can occur and to be big the preparation against a small accident steadily and only objection the bay it knows to draw up the scenario of virtuality against the actual structure which leads a rescue work practice must practice. It systematizes a cave structure commission wheat cave structure association from the world-wide each nation and it does a cave relief activity. To found the cave structure center even in Korea and executing the improvement of structure setup and equipment and simultaneously, it is prevention of accident and accident occurrence right time and appropriate and to dispose and it is important to go out. The cave structure center must establish and inside Korean cave academic society it must maintain it must be strengthened feed with the fact that it becomes the relationship with academic society and the other cave structure specific authorization and a public relation.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.353-358
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• 2014

Interactive art is implemented by participants interaction, characterized by the virtuality, immersion, interactivity. Among these features, immersion is important factor to absorb in the interactive art. From now, Interactive art measurement methods are mainly used in interview, questionnaire, and physiological methods. But these methods are difficult to measure the exact immersion, can give interfere with viewer's participation in the interactive art. In this paper, we propose the immersion measurement method which based on participant's moving lines, observation time with mobile devices, camera. This paper can help to analyse degree of immersion on interactive art.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.80-89
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• 2014

0 and 1, two digits are principle and formality of digital media. Those principle and formality dwell in new media paradigm. They are founded on emergence of new types of space. As describing the relationship originating from the concepts of digital media paradigm and space and discussing their characteristics, this paper presents the grounds for a theoretical argument for formation of new space. The concept of virtuality which mimics and represents the real, non-linearity which resembles human system of thinking and sensing, and interactivity connecting the communication theory of human and machine, their properties form the important basis for emergence of a new aspect of space. The concepts of digital media paradigm divide a type of space into two properties. The first is a inner modality. The second is outer modality. Dynamic space implicates inner modality that humans internally recognize the sense of space through their body and sensing organs. Space is not sensed but sensing. Space has an organic nature through object's interaction. Space has an outer nature that is physically variable. Finally, space has properties of modularity that changes structure of space. For empirical basis of an argument, new media art that has architectural form and those spatial characteristics were compared and analyzed. This conceptual discussion for space which the formality of digital media is applied will be an important foundation for create space design.

• Journal of Computational Design and Engineering
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• v.2 no.1
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• pp.38-46
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• 2015

Augmented reality based on projection, called "Spatial Augmented Reality (SAR)", is a new technology that can produce immersive contents by overlapping virtuality and real-world environment. It has been paid attention as the next generation digital contents in media art and human-computer interaction (HCI). In this paper, we present a new methodology to evaluate the product appearance design more intuitively by means of SAR technique. The proposed method first projects the high-quality rendered image considering the optical property of materials onto the mock-up of a product. We also conduct a projector-camera calibration to compensate a color distortion according to a projector, a projection surface and environment lighting. The design evaluation methodology we propose offers more flexible and intuitive evaluation environment to a designer and user (evaluator) than previous methods that are performed via a digital display. At the end of this research, we have conducted a case study for designing and evaluating appearance design of an automobile.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.27-38
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• 2011

This study focused on the body modification in fashion illustration based on 'Corps sans Organes' of Deleuze. An argument about the changes of ideal body to define the aesthetic consciousness of times has lasted for a long time. Therefore, analyzing body modification in fashion illustration to express the ideal beauty could be effective motives to understand the changes of ideal bodies related with socio-cultural meanings, and be helpful to understand the overall trends of modern fashion illustration. To classify the types of body modification, the concept of 'Corps sans Organes' of Deleuze was used as an analyzing tool. As the final result, the characteristics of body modification could be divided into three groups; the fragmentation of bodies, the pastiche of bodies, and the abstraction of bodies. First, in the fragmentation of bodies, which is related with flexibility, pluralism, and subjective views on body, the bodies were separated as molecules. Second, the elements of pastiche of bodies could be subdivided into five sub-groups; sex, plants, animals, texts and figure, and machines. The pastiche of bodies was used to extend the limitation of human capabilities and to reinterpret the human identities. Last, the abstraction of bodies based on contingency, indeterminacy, and subjective associations could be related with the nomadic and indefinite body images. The body modification could be considered as the context of nomadism, indeterminacy, and virtuality of modern-times, and it would be the basic data to understand the body modification in fashion illustrations.

• Asia pacific journal of information systems
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• v.26 no.1
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• pp.41-65
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• 2016

What prevails in the today's research on social media is a functional view of technology. Technology is regarded as a set of technical devices used to conduct specific social functions, such as personal communication, social networking, public posting, and corporate advertising, among others. This paper proposes that such a functional view of technology renders social media research unduly limited and constrained in its scope, level, and direction of inquiry. Problematizing on some representative social media research efforts in the field of IS, this paper provides an alternative perspective, that is, to view social media as a technology-for-being that exerts a deeper level of influence on our existence, molding and shaping the nature and mode of being itself. Such a technology-for-being perspective has been rarely explored or subscribed to in the present IS social media research. Building upon the new conception of social media as a technology-for-being, this essay explores the quality of being in the context of social media. Five such qualities are discussed, including virtuality, materiality, externality, liquidity, and hybridity. The essay also explores the deep structural problems of research to guide future social media research. Six of such problems include Problematize-the-Natural, Follow-the-Actor, Welcome-the-Frankenstein, Weber-meets-Frankenstein, Freud-meets-Frankenstein, and Marx-meets-Frankenstein. The essay concludes with discussions on the implications of the essay, its limitations, and suggestions for future work.