• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.1293-1300
• /
• 2009

The recent advent of the digital age changes socio-cultural environments. Since the value of technology is moving to the value of culture, new research areas which are the convergence of emotion, knowledge, and technology. These trends enlarge interactive digital multimedia in daily human life. One of them, book, also envolves new concept. Over electronic book, we present digilog book which is fusion of old-media and digital media. In this paper, we define digilog book as a new conceptual media and discuss it in details. Several digilog books are showed as an example and its authoring tool, ARtalet is introduced.

• Journal of Korea Multimedia Society
• /
• v.17 no.6
• /
• pp.751-758
• /
• 2014

Under the environment of various network and multimedia, various theories are studied to make utilize digital story telling authoring. In the era of digital convergence and ubiquitous information, they want to send information with additional emotional information which is preferred constructive sending method. Digital storytelling refers to a unified technology for narrative structure with the picture and act. If engraft with particular research field, It will make interactive or linear story structure. These structures have problems that they are mismanaging on the result and they are not integrated systemization in each society. Because those are designing storytelling without development process and they are focusing on web distribution. This thesis is design using the object-oriented methodology of component-based design methodology, This thesis create digital storytelling and design metadata for contents management. In the requirement phase, subject and predicate part are extracted from the narrative structure of the story and restructure an organization. We explain by giving specific examples "kongjwi and patjwi" story as a case study.

• The Journal of the Korea Contents Association
• /
• v.15 no.7
• /
• pp.170-180
• /
• 2015

With progress in emerging new media technology and associated device, there is growing interest in a new type of contents in the filed of children education. In this research, we developed a edutainment content for enhancing sociability and visual perception of children exploiting kinect. Recreating what is visually perceived with physical movement is adopted to develop visual perception. It is also designed such that one's sociability can be enhanced through experiencing natural physical contact and collaboration while interacting with the developed content. The prototype of the content was created through development of character to boost interest, a short animation for storytelling, and interactive programming. In the second pilot test which was done with the content improved through the first pilot test, it was observed that children easily played with it and actively participated in experiencing it. From this observation, it is expected that the developed content may work as a promising edutainment content which fosters children to enhance visual perception and sociability through natural interaction.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2008.11a
• /
• pp.145-148
• /
• 2008

방송에서의 광고의 비중이 높아짐에 따라 광고 수익을 극대화하기 위한 기술의 발전이 활발히 이루어지고 있다. 최근의 이러한 광고 관련 기술들을 일반적으로 Advanced Advertising 이라고 하며 그 중 시청자의 선호에 맞는 광고만을 시청자에게 제공하는 타깃광고(Targeted Advertising) 방식 등 수신기별로 특화된 광고를 제공하는 기술을 클라이언트 기반 광고 삽입 방식이라고 한다. 북미의 인터랙티브 케이블방송 규격인 OCAP(OpenCable Application Platform)은 OCAP DPI(Digital Program Insertion) 라는 명칭의 클라이언트 기반 광고 삽입 방식에 대한 북미 일부 지역에서의 시험 방송의 성공한 후 관련 규격을 OCAP1.1-I01 에 발표하기에 이르렀다. 조만간 상용화되면 OCAP DPI 를 통해 북미 케이블방송 사업자들의 광고 수익 향상에 기여할 것은 물론이고 시청자들의 만족도를 향상시킬 것이다. 이런 움직임은 케이블 진영뿐만 아니라 Open IPTV Forum, ATSC 등 IPTV 나 지상파 TV 진영에서도 이 기술에 대한 타당성 검증 및 표준화가 논의가 활발히 진행되고 있는 실정이다. 본 논문은 클라이언트 기반 광고 삽입 기술에 대해 OCAP DPI 를 구현한 경험을 바탕으로 그 원리 및 동작을 설명하고, DVR(Digital Video Recorder) 또는 PVR(Personal Video Recorder)의 주요 기능인 스토리지에 방송스트림을 저장하고 재생하는 기능을 이용하는 광고 삽입 방법에 대해 제안하며, Cable-IPTV Hybrid 의 웹 접근성을 이용하여 웹 서버에 저장되어 관리 및 운용되는 광고컨텐츠의 스트리밍을 통한 광고 삽입 방법에 대한 제안하고, 마지막으로 실제 이러한 광고 삽입 기술을 적용하는 데에 있어 발생되는 문제점들을 언급하고 그 해결에 대한 의견을 제시한다.

• The Journal of the Korea Contents Association
• /
• v.13 no.12
• /
• pp.168-183
• /
• 2013

Contemporary era has witnessed a diversity of emotion and emotions being expressed through consumption. This paper examines the relationship between social paradigms and emotional design by means of literature study. In sections 2 and 3, I examine the prevalent social paradigms and the concept/development of emotional design. In section 4, I show the correspondence between social paradigms and specific types of emotional design. More specifically it is shown that "pluralism and decentrality" has led to fun design, individual design and participative design; "emotional revolution" has given rise to multi-sensory design, design with positive feelings, design with negative feelings and aesthetic design; "non-materialistic values" have their correspondence in design as performance and story-telling in design; and "organic worldview" finds its expression in ecological design with a wellness emphasis, and in interactive emotional design.

• The Journal of the Korea Contents Association
• /
• v.8 no.1
• /
• pp.203-211
• /
• 2008

Due to the advent of presumer and digital production of moving picture, a lot of UCC has been generated by editing the previous moving pictures in various way. It causes a lot of problems on copyright, duplication, and content. In reorganizing the contents, it is necessary to increase productivity and reusability by managing production pipeline systematically through the standardization of moving picture content. For this purpose, we try to develop the moving picture content management system that can manage all kinds of information on the production pipeline, based on SCORM of e-learning by considering production, publication and re-editing. Using the meta-data of content object, user and producer can easily search and reuse the contents. Hence, they can choose the contents object according to their preference and reproduce their own creative UCC by reorganizing and packaging the selected objects. The management of copyright by the unit of scene would solve the problem of copyright. The sequencing technique of SCORM as an interactive storytelling method makes it possible to produce individual contents by user's preference.

• Proceedings of the KAIS Fall Conference
• /
• 2006.05a
• /
• pp.143-146
• /
• 2006

좁은 국토와 한정된 자원, 주변 국가와의 외래 관광객 유치 경쟁의 심화 등의 이유로 관광산업의 지속적인 발전이 힘들다는 전망이 대두되고 있다. 따라서 날로 다양해지는 관광소비자의 욕구를 정확하게 분석하고, 국내외 관광시장의 흐름을 파악해야 하며, 이러한 관점에서 분석한 결과, 국내 관광지에는 관광객을 유혹할만한 정보를 얻기 힘들고, 이미 통용되고 있는 관광정보 또한 기본적이고 단순한 정보에 지나지 않음을 알 수 있었다. 이에 본 연구는 이야기가 있는 관광지의 정보를 제공하여 보다 흥미 있는 관광정보를 제공하고, 여행자 개개인의 적극적 참여를 유도하기 위해 콘텐츠에 이야기, 애니메이션 및 게임을 제공하고, 주변상점과의 제휴를 통해 상호작용이 가능한 콘텐츠를 개발하였다. 또한 모바일 기기를 기반으로 하여 칼라코드, SMS등의 이용으로 보다 흥미롭고 사용이 편리한 콘텐츠를 개발하고자 노력하였으며, 캐릭터를 개발하여 과학적인 마케팅 전략의 수립으로 지속적인 제주관광발전을 도모하고자 하였다.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.153-172
• /
• 2013

There are many cases that messages of boring contents of most contents with public interests appear on the surface. Audiences don't think these contents are interesting. It is true that animations cannot be generally boring when delivering messages of public interests. was produced to focus on making audiences experience that a global warming story, the boring and textbook contents is interesting. And it was composed by the multiform story to realize narration through audiences' participation by utilizing the characteristics of live windows, not just watching the animation. This paper examines the differences between theaters and live window through the case that was produced and examples which utilized interaction for audiences' participation based on this. It analyzes the differences between environments according to characteristics of places and audiences in the differences between the theaters and live window, examines the examples to utilize interaction focusing on the process that narration is gradually changed as response to user environment design and interaction for unspecified individuals, and suggests direction that animation should move forward as public art based on the results to show the animation in Millano Piazza. According to the characteristics of live windows, the audiences of are people in the streets who are heading for different destinations, not the ones who come to theaters to watch the animation. Showing the animation with narration to them was a new attempt. When it began to show it in Millano Piazza, the audiences were very satisfied with the experiences that the stories were changed as they participated in it by themselves and naturally thought of global warming problems. You cannot know how the message of change people's habits and thoughts for the present, but this attempt was an opportunity that animations play the social role. Many animations are being produced in the world. Most of them are being done to aim at theaters, TVs, and film festivals. They should meet audiences through more various methods. One of them is animations as public art. And can be the new attempt in this sense. And in the future, animations as public art should make efforts to show you interesting experiences that you can share thoughts to be able to live together. As art of various media is changing to the one which considers public interests, animations can be new types of public art by integrating them with various technologies.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.2
• /
• pp.136-153
• /
• 2021

The restitution of cultural heritage located abroad has been going on for 107 years, starting with the return of the Jigwangguksa Tower to Beopcheonsaji Temple in Wonju after it was taken during the Japanese occupation in 1915. The Overseas Cultural Heritage Foundation, established in 2012, has laid the foundation for retrieval, preservation, restoration, and exchange of cultural heritage through research cooperation and the purchasing of cultural heritage items. The pace of the collection of cultural heritage objects and the locating of others has increased every year since its establishment, and the number of returned, rather than recovered, cultural heritage items has also increased. The present study aimed to complete a value inquiry of the cultural relics of Waryongmae (臥龍梅) and a restitution of cultural heritage as the main focuses. The process of recovering relics from Waryongmae has been recorded in the book The Cultural Property Returned into Our Arms, published by the above-mentioned foundation. This record was revised and supplemented to try and raise its cultural value by adding elaborate storytelling to the process of recovering the Waryongmae that grew in the courtyard of Changdeokgung Palace. The cultural value of Waryongmae is that it is unique. The Waryongmae is the first living cultural heritage, and therefore has cultural value due to its uniqueness. Second, the Waryongmae has unique cultural value due to its restitution and return to Korea twice, once in 1992, and another time in 1999. The first restitution was special in that it was featured by the Japanese media, and the second was special in that it was intensively reported by the Korean media. Third, 42 Waryongmae cultural content types were explored, including nineteen visual contents, eleven interactive contents, and twelve skate contents.

• Journal of Digital Contents Society
• /
• v.13 no.1
• /
• pp.119-127
• /
• 2012

In this study, it was witnessed that a variety of tests are implemented in a type of convergence of multimedia such as photos, sounds, and videos as well as letters and drawings, components of existing traditional comics as comics are digitalized and are converted to various devices. Therefore, we studied the concept of multimedia comics as a basis of this study by judging that new barometer to comics lies in convergence with such multimedia. After recognizing components of multimedia comics which are currently emerging, we categorized them into three types depending on how to use these elements. First, convergence type webtoon has a very similar format with existing vertical scrolling webtoon and has characteristics that background & effects sounds are added to emphasize the features of webtoon, or photos or videos are inserted in part, and there is no function to control these elements; Second, motion comic, a medium format between comic and animation has a characteristic that sound, video, paging are auto-played like watching animation but it keeps the format of comics within one frame; Third, interactive comic has a characteristic that effects sound, motion, and story are made by active participation of viewers. As a result of analyzing comics which having above multimedia characteristics, its implications are as followings: First, multimedia elements should be used depending on genre, age, and media; Second, high level of control technology considering the features of comic-viewers is needed. In other words, in continuously evolving media environments, comic contents being proper to targets and use purposes of viewers should be developed. For this, multimedia elements of comics should be used in order that comic-viewers can have active & interactive communication with contents.