• Journal of Digital Contents Society
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• v.19 no.2
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• pp.309-318
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• 2018

We proposed a marketing plan for the performing arts venue using realistic contents(VR, AR, and MR). The venue is a place where the audience can experience the performance directly. The marketing plan of the performance venue is as follows. Firstly, it is a marketing strategy that utilizes an arrangement of venue seats. It is possible to predict for watching a performance at angle and sight in performance venue seats that audience want through VR. This allows the theatre seats to be experienced in advance with the VR contents inducing the reservation of the seats with a high sense of immersion. Secondly, it is a marketing using PR and AD of performing arts through MR in the space with a large transient population. It is possible to promote dynamic promotion utilizing the sense of the presence of performing arts compared with existing static promotion means. Thirdly, it is a marketing strategy that utilizes actor characters in performance. The audience could be interested in the performing arts in advance via a preview of the AR contents of the pamphlet. Fourthly, it is a way to communicate with customers directly by establishing a VR social network to manage venue members. This will help attract an audience to revitalize the theatre venue.

• Journal of Korea Multimedia Society
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• v.12 no.5
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• pp.745-756
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• 2009

An autonomous virtual character can conduct itself like a human after recognizing and interpreting the virtual environment. Artificial vision is mainly used in the recognition of the environment for a virtual character. The present artificial vision that has been developed takes all the information at once from everything that comes into view. However, this can reduce the efficiency and reality of the system by saving too much information at once, and it also causes problems because the speed slows down in the dynamic environment of the game. Therefore, to construct a vision system similar to that of humans, a visual observation system which saves only the required information is needed. For that reason, this research focuses on the descriptive artificial intelligence engine which detects the most important information visually recognized by the character in the virtual world and saves it into the memory by degrees. In addition, a visual system is constructed in accordance with an image transaction theory to make it sense and recognize human feelings. This system finds the attention area of moving objects quickly and effectively through the experiment of the virtual environment with three dynamic dimensions. Also the experiment enhanced processing speed more than 1.6 times.

• Science of Emotion and Sensibility
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• v.5 no.4
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• pp.77-84
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• 2002

In this paper, we propose the NAVER, a general framework for multipurpose virtual environments, and introduce the case study of evaluating car prototypes using cave-like systems. As a framework to implement variant applications in virtual environment, NAVER is extensible, reconfigurable and scalable. NAVER consists of several external modules (Render Server, Control Server and Device Server), which communicate each other to share states and user-provided data and to perform their own functions. NAVER supports its own scripting language based on XML which allows a user to define variant interactions between objects in virtual environments as well as describe the scenario of an application. We used NAVER to implement the system for evaluating car prototyes in a CAVE-like virtual environment system. The CAVE-like virtual environment system at KIST consists three side screens and a floor screen (each of them is a square with side of 2.2m), four CRT projectors displays stereoscopic images to the screens, a haptic armmaster, and a 5.1 channel sound system. The system can provide a sense of reality by displaying auditory and tactile senses as well as visual images at the same time. We evaluate car prototypes in a CAVE-like system in which a user can observe, touch and manipulate the virtual installation of car interior.

• Journal of the Korea Computer Graphics Society
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• v.22 no.3
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• pp.11-20
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• 2016

This paper introduces an effective method for generating 3D stereoscopic images that gives immersive 3D experiences to viewers using mobile-based binocular HMDs. Most of previous AR systems with monocular cameras have a common limitation that the same real-world images are provided to the viewer's eyes without parallax. In this paper, based on the assumption that viewers focus on the marker in the scenario of marker based AR, we recovery the binocular disparity about a camera image and a virtual object using the pose information of the marker. The basic idea is to generate the binocular disparity for real-world images and a virtual object, where the images are placed on the 2D plane in 3D defined by the pose information of the marker. For non-marker areas in the images, we apply blur effects to reduce the visual discomfort by decreasing their sharpness. Our user studies show that the proposed method for 3D stereoscopic image provides high depth feeling to viewers compared to the previous binocular AR systems. The results show that our system provides high depth feelings, high sense of reality, and visual comfort, compared to the previous binocular AR systems.

• Archives of design research
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• v.17 no.2
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• pp.413-424
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• 2004

This paper defines the telepresence as a particular type of experience, rather than a collection of hardware. Defining telepresence in this way provides a means for examining telepresence in relation to other types of mediated experience. Presence refers to the natural perception of an environment, and telepresence refers to the mediated perception of an environment. Factors influencing whether a particular mediated environment will induce a sense of telepresence include the following: the combination of sensory stimuli employed in the environment, the ways in which participants are able to interact with the environment, and the characteristics of the individual experiencing the environment. Telepresence art invites the people from remote worlds to networked cyber space and creates the experience of 'being there' by making participants control the virtual reality system and receive feedback from their teleactions. It is the way to produce an open and engaging experience that manifests the cultural changes brought about by remote control, remote vision, telekinesis, and real-time exchange of audiovisual information. The principal determinants of telepresence are sensory immersion, sensory fidelity, cognitive fidelity and personal factors. This paper applies the 4 determinants to telepresence art works such as Ken Goldberg's Telegarden, Monika Fleischmann & Wolfgang Strauss' The Home of the Brain, Paul Sermon's Telematic Dreaming, Telematic Vision, Eduardo Kac's Uriapuru, Simon Penny's Traces and Paul Sermon & Andrea Zapp's A Body of Water.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.93-101
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• 2022

Immersion is a features of VR technology, and the most important condition for evaluating VR experience. With the improvement of VR technology, including the presentation accuracy of VR content, the degree of interaction is diversified, the user's immersion in VR equipment should not only be improved technically, but researched from the user's perception level. The paper defines two important factors, immersion and presence, in a participant's experience with a VR device. Although the current technology can already simulate the real environment information visually and audibly, the content of the VR environment is not enough for us to achieve a completely real experience. Based on the Flow theory of Csikszentmihalyi and the sensory immersion achieved by current technology, this paper proposes the key factors of how to achieve conscious immersion for users in VR media. We prove that immersion is an indicator of the true degree of sensory simulation of VR equipment and is the basis for the realization of flow experience. What really makes the participant feel a perfect experience is the content provided by the VR environment and gave participants a sense of presence, it is not limited to video or games. On the premise of the Multi-Sensory, Immersion, Interactivity and Imagination experience achieved by using virtual reality technology, combined with the content creation of flow theory, the interactive immersion achieved by users is an important method to realize the awareness immersion of VR equipment.

• Journal of Science of Art and Design
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• v.5
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• pp.159-174
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• 2003

'Fantasy', the central notion of this essay, is discussed here more as a new paradigm in order to describe the structure of a work of art than as a stylistic characteristic proper to a specific genre of art. It means the whole situation and experience produced by two connected terms 'corporeal subject - screen'. Roland Barthes explained the 'semiographic painting' by Andre Masson as a field in which happens a certain connexion between the impulse of subject and the image, which views the painting not as a physical object but as a 'cinematic screen' ; painting may be redefined as a dream or a fantasy of the corporeal subject. And such an idea of 'art as fantasy' is closely related to the recent theoretical attempts consisting in abolishing the vision-centered conception of art since Renaissance. In this essay, the notion of fantasy as an aesthetic model is sketched by means of the Freud's notes on the fantasy 'A child is being beaten' and Lyotard's more advanced analyse on its attributes and operations. In Lyotard's analysis, fantasy is defined as a 'bloc' or a 'matrix-figure' featuring simultaneous conversion between the active and the passive, sadism and masochism, and coexistence of imcompossible meanings. In this sense, fantasy may be given to us as an analogical model from which we can outline the aesthetic characteristics of electronic media art involving virtual reality and interactivity.

• International Journal of Automotive Technology
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• v.7 no.2
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• pp.179-185
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• 2006

Airbag deployment has been responsible for huge death, incidental injuries and broken bones due to low crash severity and wrong deployment decision. This misfortune has led the authorities and the industries to pursue uniquely designed airbags incorporating crash-sensing technologies. This paper provides a thorough discussion underlying crash sensing algorithm approaches for the subject matter. Unfortunately, most algorithms used for crash sensing still have some problems. They either deploy at low severity or fail to trigger the airbag on time. In this work, the crash-sensing algorithm is studied by analyzing the data obtained from the variables such as (i) change of velocity, (ii) speed of the vehicle and (iii) acceleration. The change of velocity is used to detect crash while speed of the vehicle provides relevant information for deployment decision. This paper also demonstrates crash severity with respect to the changing speed of the vehicle. Crash sensing simulations were carried out using Simulink, Stateflow, SimMechanics and Virtual Reality toolboxes. These toolboxes are also used to validate the results obtained from the simulated experiments of crash sensing, airbag deployment decision and its crash severity detection of the proposed system.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.2
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• pp.181-186
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• 2023

With the development of VR technology, the visual immersion of VR games has been greatly enhanced nowadays. There has been an issue that has been troubling players in previous VR games, which is motion sickness. Therefore, VR games have been limited in terms of game mechanics, game duration, and game scale, greatly reducing the immersive experience of visual immersion. However, <Half-Life: Alyx> is different from previous VR games in that players can actually perform spatial displacement in the game scene, rather than being fixed in one place for 360-degree observation and interaction. At the same time, compared to traditional games, VR games no longer need to rely on screens, and the complete visual immersion enhances the fun and playability of the game. This research focuses on the VR game <Half-Life: Alyx> to explore its immersive factors in terms of visual perception. Through in-depth analysis of elements such as color, texture mapping, lighting, etc. in VR games, it was found that the game creates a strong sense of visual immersion in these aspects. Through analysis, it is helpful to gain a deeper understanding of the factors that contribute to visual immersion in VR games, which has certain reference value for game developers and related professionals.

• Journal of Sensor Science and Technology
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• v.21 no.4
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• pp.249-255
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• 2012

Among the human senses, olfactory information still does not have a proper data presentation method unlike that regarding vision and auditory information. It makes presenting the sense of smell into multimedia information impossible, which may be an exploratory field in human computer interaction. In this paper, we propose an olfactory information presentation method, which is a way to use smell as multimedia information, and show an application for scent generation and odor display using a web service. The olfactory information can present smell characteristics such as intensity, persistence, hedonic tone, and odor description. The structure of data format based on olfactory information can also be organized according to data types such as integer, float, char, string, and bitmap. Furthermore, it can be used for data transmitting via a web service and for odor display using a scent generator. The scent generator, which can display information of smell, is developed to generate 6 odors using 6 aroma solutions and a diluted solution with 14 micro-valves and a micropump. Throughout the experiment, we confirm that the remote user can grasp information of smell transmitted by messenger service and request odor display to the computer controlled scent generator. It contributes to enlarge existing virtual reality and to be proposed as a standard reference method regarding olfactory information presentation for future multimedia technology.