• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Management & Information Systems Review
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• v.28 no.4
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• pp.253-291
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• 2009

Expo, as one of the types of convention, is defined as the exhibition of which primary object is the public enlightenment. It displays lots of exhibits from countries around the world created or produced by advanced technologies, but its priority is actually on suggesting value of product, usability and creativity, not on seeking for purchasers of those products. Thus, the world's event Expo can be deemed as the place for educating visitors with various features in both current and future generation in terms of "experience". This study intends to grasp the attributes and elements of the host cities and to look into the formation of city image after being a spectator and the relation for suggesting systematic and rational measures on planning and promoting the Expo. For the foregoing measures, this study suggests effective management measures for Expo spectators by disclosing attributes of host cities, relationship with the formation of city images, and satisfactory relationship among Expo spectators. For achieving the purpose of this study, the relationship between spectators who visited the 'Cheonan 2009 Wellbeing Food Expo' and each element on the basis of the measuring devices deducted through a preparatory research. Based on the results deducted through positive analysis, it intends to expect qualitative improvement of 'Cheonan 2009 Wellbeing Food Expo' and to suggest measures for elevating satisfaction level of Expo spectators by displaying alternative elements for spectators' choice at the Expo and gives continuous suggestion on managing spectators.

• 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.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.1-8
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• 2009

User movement is an important factor in determining the amount of the acquired knowledge and information about space contexts. A reasonable circulation plan affects the spatial usage, space revitalization, and activity satisfaction, and is ultimately a means to increase spatial usefulness. On the other hand, a disorderly circulation system causes negative experiences due to difficulties in wayfinding. This research identified the importance of a pedestrian circulation system analyzing the correlation between the spatial configuration index and pedestrian movement, and visitors' movement in the leisure space by using Space Syntax. The research area, Ouam-ri, where numerous guests visit this designated folk village, is a typical case in which a settlement space is used as a leisure space. There was a great deal of risk that visitors would get lost while wandering through the space. Also, it is difficult to induce visitors to tour economically even though the pedestrian circulation configuration of Ouam-ri forms the natural moving line because of its typical tree structure. Additionally adjusting and to supplementing the pedestrian system is required in order for the traditional village, a settlement space, to be used as a leisure space.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.