• Journal of Science Education
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• v.42 no.2
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• pp.95-105
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• 2018

The purpose of this study was to develop a digital textbook on 'structure and contraction mechanism of skeletal muscle' with the learning model for biomimicry-based convergence. The unit of 'structure and contraction mechanism of skeletal muscle' is a part of Life Science I in high school. The convergence learning model was designed with three phases of biomimicry-based convergence (Exploration-Design-Implementation) including 3D modeling & printing. The developed digital textbook was composed of 8 sessions which contains the following learning contents : Exploration of skeletal muscle, creative designing of skeletal muscle using sketch application and 3D modeling, convergent implementing of the designed using 3D printing, exploration of muscle contraction, creative designing of muscle contraction using sketch application and 3D modeling, and convergent implementing of the designed using 3D printing. Each session is also involved in the contents of gallery widgets, media widgets, keynote widgets, sketch widgets, the cloud, polling widgets, and review widgets for interactive and mobile learning. After administering the developed digital textbook to 20 high school students, it was shown a positive effectiveness on life science learning for high school students. Moreover, the digital textbook was evaluated as to promote student's abilities on creative designs and implementation related to biomimicry-based convergence. The digital textbook was also shown a favorable response on students' interest and self-directed learning on life science.

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.62-69
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• 2012

The newly developed field of media art is quickly making progress to include various and up-to-date forms of expression. Unlike in traditional art, the communication between the art and the viewer has become vastly important, in which the viewer is an active agent who participates and interacts with the artwork. These digital artworks can now be readily observed in everyday places and things, rather than being confined solely in the gallery space. By encouraging open interaction with the public, media art has become more accessible. Accordingly, this thesis examines the construction of a real-time multimedia clock piece using particle systems. Time has always been a significant theme in the realm of traditional art, which continues to be explored extensively in various forms of expression. In an attempt to express the continuity of time and the state of being value of existence based on technological skills, the thesis presents an artwork that uses the popular medium of a clock while also providing both usability and emotional satisfaction for the viewer's sensibility through interaction.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.265-271
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• 2019

The number of galleries across the country is increasing as interest in cultural life increases due to the increase in national income. However, museum satisfaction is relatively low compared to other services. In this paper, we propose a service that provides preference information based on machine learning in embedded system environment in order to increase museum satisfaction. The proposed algorithm implements an embedded system using Raspberry Pi. Machine learning was used to find works similar to the viewer's favorite works, and several models were compared to select models applicable to embedded systems. By using the preference information, it is possible to effectively organize the gallery exhibition contents to increase the exhibition satisfaction and the re-visit rate of the museum.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.64-73
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• 2015

Describing the filmography of Yong-ho KIM simply in a few sentences is considered nearly impossible. For the last 20 years and longer, KIM has been building up his career energetically as he never lets himself obsessed with any particular boundaries or areas but work on everything from paper advertisements to art galleries, advertising photographs and pure photographs. The Photolanguage personally mentioned by Yong-ho KIM himself is to visualize this imaginary story in a form of photograph, which one would come up with before shooting. When it comes to the advertising photographs, since they are used basically to sell products, they are considered rather temporary, and in addition, they photograph the products mostly under these bright lights with colorful backgrounds behind. However, Yong-ho KIM was recognized for presenting very much different work as he went even beyond these old stereotypes of the advertising photographs. The advertising photographs processed by KIM do more than merely introducing details or functions of some products, but they deliver these values and cultures that consumers can enjoy and gain through these original stories about the products. Of several pieces of KIM's work, this advertisement on Hyundai Card named was invited to an exhibition by a private gallery after the work was exposed through various media. The work was even purchased, and that was something that had not happened before in the history of the relevant field. When a photograph is purchased, it makes the photograph recognized for its value to be possessed, and when a photograph is displayed, it, again, makes the photograph win recognition as an art work. This thesis discusses the Photolanguage found in the works of Yong-ho KIM, one of the most well-known advertising photographers in South Korea. The research inquiries that have been analyzed in the body of the thesis, therefore, are the photographs and language in the digital era, the story-telling advertisements and these works by Yong-ho KIM.

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.187-197
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• 2012

The purpose of the study is to analyze and to clearly put more understanding on the current LED sky screen structures located not only in some cities of Korea but also in those of other countries which have been running the large-scaled LED sky screen, which is also called the LED canopy. In addition, this research is to also focus on the availability or possibility of the social role for the large-scaled LED sky screen to make great contributions to the local economic development of the relevant cities which are currently running their large-scaled LED sky screens, in terms of facility, contents and strategy, respectively. For this research, 4 large-scaled LED sky screens located in both domestic and foreign countries such as Suzhou Sky Screen in Suzhou city of China, Fremont Street Experience VIVA VISION in Las Vegas of the States, the Palace Sky Screen in Beijing of China, and Yeosu Expo Digital Gallery Sky Screen in Yeosu city of Korea, respectively, have intensively been dealt with for research, in terms of the features of their facility aspects.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.45-53
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• 2010

This paper has attempted to propose a more progressive direction for U-environmental sculptures in a ubiquitous urban space in terms of usability, service, function and formative characteristics that enhance user satisfaction with these sculptures. For this, Media Pole, a U-environmental sculpture on Gangnam U-Street, has been examined. The results of this study are as follows: First, a study of user satisfaction was planned after establishing levels of satisfaction in terms of service, function and formative characteristics. In terms of satisfaction by the section of Media Pole, the public transportation map was the most influential in service while street culture and beauty of shape were critical in function and formative characteristics, respectively. In the relationship between satisfaction by section and overall satisfaction, furthermore, functional satisfaction had the biggest influence. Therefore, the development of human-centered functional factors which have pleasant and touching stories to facilitate communication with citizens are important in order to develop various Media Pole contents to enhance user satisfaction with the U-environmental sculpture and allow it evolve into a Gangnam landmark Since we are in the initial stage of a U-city, there are many problems that need to be addressed such as a lack of natural beauty, poor material quality of environmental sculptures, absence of storytelling, poor technology, lack of content, poor profitability and lack of means of social communication. In the end, the development of a comfortable, people-friendly space and U-environmental sculptures are needed in consideration of economic, social and cultural aspects instead of focusing on advanced technology only.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.1-15
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• 2021

With the prolonged COVID-19 pandemic situation, the attention on Metaverse has been soared throughout media and publications. Recently the entertainment industry is also changing to actively utilize the virtual world with artists working through Metaverse platforms. With the recent high interests on Metaverse, this study attempts to illuminate how the public perceives and accepts Metaverse experiences. While research on Metaverse has been mainly focused on specific technologies or technical objects, this study focuses on exploring how fans recognize and understand the concept of Metaverse through newly debuted idol group 'aespa', composing of 4 human members and 4 AI avatar members that integrate real and virtual world. For this, this study seeks to analyze the reaction and recognition of fans by exploring online community 'DC Inside'. As a result of analyzing the reactions of fans in the early days of aespa's debut, the perspectives of understanding AI members of aespa are categorized into three groups: first, the type of equating and accepting the real and the virtual world; second, the type of recognizing the real world and the virtual world separately and recognizing the virtual member as an avatar or concept, not a genuine member; and finally, a type of recognizing virtual worlds separately from reality. Based on these results, the implications that Metaverse contents may have in the entertainment industry are suggested.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.97-102
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• 2020

With the advancement of technology, there are almost no constraints on expression in virtual reality (VR) art; however, it still has some limitations. VR artists can be largely classified into two groups in terms of style. The first group is artists who create their works as a live performance. In this case, a major limitation is that the artist cannot see how the audience reacts to the work because he/she wears a VR device while performing, and the audience cannot fully experience the work, since they view it only on-screen without any VR devices. This problem can be solved if all members of the audience wear VR devices; however, that requires astronomical costs and brings about another problem related to device management. If the price of VR devices decreases as technology develops, it may help solve this problem. The second group is exhibition artists who regularly display their works online. In this case, the limitation is that their work using VR remains only in the virtual digital space. In this case, a solution may be creating space in exhibition halls, and providing VR devices to audience members in existing art exhibitions.