• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.62-69
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• 2011

Development of sensing technology and progress of digital media have been creating new art genre named interactive media art. digital mirror working based on convergence between computer vision technology and video art, is expressing reconstituted spectator's visual image through various mediums. From this aesthetical point and high accessibility towards spectators, many types of digital mirrors have been introducing. However, the majority of digital mirrors express visual images unrelated to degree of spectator's participation and this caused obstruction to spectator's continuous participation and interaction. This paper proposes digital mirror operated by spectator's movements read through particle system synchronized with motion detection algorithm based on analyzing image difference. This work extracted the data of spectator's movement by image processing and designed particle system changed by this data. And it expressed reconstructed spectator's image.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.43-51
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• 2016

This paper presents the concept of "interactive teleprompter", which provides the user with interaction with oneself or other users for live television broadcasts or smart mirrors. In such interactive applications, eye contacts between the user and the regenerated image or between the user and other persons are important in handling psychological processes or non-verbal communications. Unfortunately, it is not straightforward to address the eye contact issues with conventional combination of normal display and video camera. To address this problem, we propose an "interactive" teleprompter enhanced from conventional teleprompter devices. Our interactive teleprompter can recognize the user's gestures by applying infra-red (IR) depth sensor. This paper also presents test results for a beam splitter which plays a critical role for teleprompter and is designed to handle both visual light for RGB camera and IR for Depth sensor effectively.

• International journal of advanced smart convergence
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• v.9 no.1
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• pp.163-171
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• 2020

There are many differences in narrative delivery between common movies and Virtual Reality(VR) films due to their differences in the appreciation structure. In VR films, scene changes by cuts have hindered the immersion of the audience instead of promoting narrative delivery. There are a range of experiments on narratives and immersion to solve this issue in VR films. Floating Tent applies hand gestures and immersive effects found in game elements and does not disturb narrative delivery by setting proper spaces and employing a direction technique to enable the melting of narratives into the characteristics of the spaces. There are time limits to offsound and mission performance, and devices fit for apocalyptic spatial expressions are made through a program. One of measures for the increasingly growing interactive storytelling in VR films is effective immersion. In narrative delivery, it is important to consider spatial setting and immersion to enable active intervention into events for immersion rather than passive audience only supposed to watch characters' acting.

• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.60-68
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• 2021

The purpose of this paper is to examine the formal characteristics of , which has been screened on Netflix since 2018. This film can be considered an interactive narrative because it gives viewers the opportunity to select their own narrative forks which lead to various endings. However, it also limits viewers' freedom of interactions in many ways, resulting in the pessimistic narrative world of series. In this contradictory situation, the conflict between the user's selectability and the narrator's authoriality emerges. And this collision gives rise to a complex form in which nonlinear interactive and linear narrative forms blend together. It can be understood as a form of self-reflection, such as forms of the metalepsis and breaking the fourth wall. In this paper, this particular form will be regarded as a sort of reflexive intermediality, i. e. the form for media reflexion.

• Proceedings of the Korea Information Processing Society Conference
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• 2019.10a
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• pp.1141-1144
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• 2019

바쁜 일상생활에서 개인의 외출 준비 시간을 줄이고 더불어 취미, 여가 생활을 즐길 수 있도록 다양한 스마트 기능을 탑재하여 편리함과 IT 기술을 내재한 스마트 미러를 개발하였다. 스마트 미러 개발 플랫폼인 MagicMirror의 모듈을 활용하여 음성인식 및 오픈 API 정보를 통해 상호작용 및 개인화 기반의 스마트 미러 서비스를 제공하고자 한다.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.32 no.8
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• pp.693-700
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• 2008

The primary mirror system in a satellite camera is an opto-mechanically coupled system for a reason that optical and mechanical behaviors are intricately interactive. In order to enhance the opto-mechanical performance of the primary mirror system, opto-mechanical behaviors should be thoroughly investigated by using various analysis procedures such as elastic, thermo-elastic, optical and eigenvalue analysis. In this paper, optimal design of the bipod flexure mounts for high opto-mechanical performance is performed. Optomechanical performances considered in this paper are RMS wavefront error under the gravity and thermal loading conditions and 1st natural frequency of the mirror system. The procedures of the flexure mounts design based on design of experiments and statistics is as follows. The experiments for opto-mechanical analysis are constructed based on the tables of orthogonal arrays and analysis of each experiment is carried out. In order to deal with the multiple opto-mechanical properties, MADM (Multiple-attribute decision making) is employed. From the analysis results, the critical design variables of the flexure mounts which have dominant influences on opto-mechanical performance are determined through analysis of variance and F-test. The regression model in terms of the critical design variables is constructed based on the response surfaceanalysis. Then the critical design variables are optimized from the regression model by using SQP algorithm. Opto-mechanical performance of the optimal bipod flexure mounts is verified through analysis.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.159-166
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• 2013

This paper aims to not giving one time pleasure nor curiosity, but applying and sharing philosophical discourse for contemporary citizens with reflectivity in a realm of media art. This paper shows the result from the class which the author conducted with philosophical discourse, case analysis, ideation and progress into practical works. Through the process of doing ideation and realization of media art work with students, this paper shows that theory and practice can be harmonized and penetrated into deeper level with diverse interface experiments.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Journal of the HCI Society of Korea
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• v.12 no.1
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• pp.5-13
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• 2017

Interactive intervention of the human presenter is one of the important factors that make the visualization more effective. Rather than just showing the content, the presenter enhances the process of the information delivery by providing the context of visualization. In this paper, we define this as an augmented presentation. In augmented presentation concept, the presenter can facilitate presentation more actively by being fully immersed in the visualization space and reaching and interacting into digital information. In order to concrete the concept, we design presentation space that enables the presenter to be seamlessly immersed in the visualization. Also we increase the presenter's roles as a storyteller, controller and augmenter allowing the presenter to fully support communicative process between the audience and the visualization. Then, we present an augmented presentation system to verify the proposed concept. We rendered 3D visualization through a half-mirror film and a wall projection screen that are place in parallel and applied with stereoscopic images, then, spatially align the presenter inside the virtual visualization space. After that, we conduct a controlled experiment to investigate the subjective level of immersion and engagement of the audience to HoloStation compared to traditional presentation system. Our initial investigation suggests that the newly conceived augmented presentation has potential not only to enhance the information presentation but also to supports the delivery of visualization.