• Asian review of World Histories
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• 제4권1호
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• pp.83-123
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• 2016

We describe a vision of historical analysis at the world scale, through the digital assembly of historical sources into a cloud-based database, where machine-learning techniques can be used to summarize the database into a time-integrated actor-to-actor complex network. Using this time-integrated network as a template, we then apply the method of automatic narratives to discover key actors ('who'), key events ('what'), key periods ('when'), key locations ('where'), key motives ('why'), and key actions ('how') that can be presented as hypotheses to world historians. We show two test cases on how this method works. To accelerate the pace of knowledge discovery and verification, we describe how historians would interact with these automatic narratives through an online, map-based knowledge aggregator that learns how scholars filter information, and eventually takes over this function to free historians from the more important tasks of verification, and stitching together coherent storylines. Ultimately, multiple coherent storylines that are not necessary compatible with each other can be discovered through human-computer interactions by the map-based knowledge aggregator.

• International journal of advanced smart convergence
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• 제9권1호
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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.

• 한국게임학회 논문지
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• 제11권2호
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• pp.29-37
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• 2011

디지털 아트의 한 영역으로써 인터렉티브 비디오는 관객이 특정한 관점에서 비디오 공간에 비춰지는 매체적 특성상 거울의 효과가 하나의 비유로써 도입된 바 있으며 이는 미디어의 본질에 접근하는 담론을 자극하였다. 본 논문에서 소개되는 인터렉티브 비디오 작품은 이러한 담론의 연장선에서 개념적으로는 장자의 나비의 꿈에서 나타나는 사상에 기초하며 기술적으로는 컴퓨터 비젼을 이용하여 명암 처리를 통해 관객의 실루엣을 얻음으로써 다수의 그래픽 나비 개체가 이를 추상적으로 그리게 한다. 관객은 그래픽 공간에 투영된 자신의 이미지와 상호작용하면서 내러티브를 생산하게 된다. 시스템에 사운드를 도입하여 공간감을 증강시키고 추가적인 내러티브를 생산할 수 있도록 하였다. 본 작품에서 도입된 컴퓨터 비젼 기법과 개체의 자율행동 및 군집운동 메카니즘에 의한 그래픽 생성이 인터렉티브 비디오를 구현하는 하나의 방식으로 제시된다.

• International Journal of Contents
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• 제11권3호
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• pp.24-33
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• 2015

Against the backdrop of Habermas' theory of communicative action, we empirically analyzed the level of interactivity and narratives offered in nation-states' ministry of foreign affairs Web sites. A multiple regression analysis was performed in an attempt to identify factors affecting the level of interactivity in such Web sites. Findings revealed that the level of economic development is the sole significant factor in regards to the level of interactivity. Further, self-interested, goal-directed, and strategic purposes behind the allegedly transparent, engaging, and interactive public diplomacy were evidenced through a critical analysis of the objectives, key issues, and target publics addressed and highlighted in the public diplomacy narratives on the Web. The results suggested a possible digital divide in the interactive adoption of Web public diplomacy as well as strategic motives and interests embedded in the public diplomacy communication on the Web. This study helps increase our understanding of the paradox of public diplomacy in the digital age.

• 여성건강간호학회지
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• 제26권3호
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• pp.205-212
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• 2020

Purpose: This study aimed to identify the components of preterm birth (PTB) through women's personal narratives and to visualize clinical symptom expressions (CSEs). Methods: The participants were 11 women who gave birth before 37 weeks of gestational age. Personal narratives were collected by interactive unstructured storytelling via individual interviews, from August 8 to December 4, 2019 after receiving approval of the Institutional Review Board. The textual data were converted to PDF and analyzed using the MAXQDA program (VERBI Software). Results: The participants' mean age was 34.6 (±2.98) years, and five participants had a spontaneous vaginal birth. The following nine components of PTB were identified: obstetric condition, emotional condition, physical condition, medical condition, hospital environment, life-related stress, pregnancy-related stress, spousal support, and informational support. The top three codes were preterm labor, personal characteristics, and premature rupture of membrane, and the codes found for more than half of the participants were short cervix, fear of PTB, concern about fetal well-being, sleep difficulty, insufficient spousal and informational support, and physical difficulties. The top six CSEs were stress, hydramnios, false labor, concern about fetal wellbeing, true labor pain, and uterine contraction. "Stress" was ranked first in terms of frequency and "uterine contraction" had individual attributes. Conclusion: The text network analysis of narratives from women who gave birth preterm yielded nine PTB components and six CSEs. These nine components should be included for developing a reliable and valid scale for PTB risk and stress. The CSEs can be applied for assessing preterm labor, as well as considered as strategies for students in women's health nursing practicum.

• Asian review of World Histories
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• 제4권1호
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• pp.3-34
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• 2016

This introduction is both a statement of a research problem and an account of the first research results for its solution. As more historical databases come online and overlap in coverage, we need to discuss the two main issues that prevent 'big' results from emerging so far. Firstly, historical data are seen by computer science people as unstructured, that is, historical records cannot be easily decomposed into unambiguous fields, like in population (birth and death records) and taxation data. Secondly, machine-learning tools developed for structured data cannot be applied as they are for historical research. We propose a complex network, narrative-driven approach to mining historical databases. In such a time-integrated network obtained by overlaying records from historical databases, the nodes are actors, while thelinks are actions. In the case study that we present (the world as seen from Venice, 1205-1533), the actors are governments, while the actions are limited to war, trade, and treaty to keep the case study tractable. We then identify key periods, key events, and hence key actors, key locations through a time-resolved examination of the actions. This tool allows historians to deal with historical data issues (e.g., source provenance identification, event validation, trade-conflict-diplomacy relationships, etc.). On a higher level, this automatic extraction of key narratives from a historical database allows historians to formulate hypotheses on the courses of history, and also allow them to test these hypotheses in other actions or in additional data sets. Our vision is that this narrative-driven analysis of historical data can lead to the development of multiple scale agent-based models, which can be simulated on a computer to generate ensembles of counterfactual histories that would deepen our understanding of how our actual history developed the way it did. The generation of such narratives, automatically and in a scalable way, will revolutionize the practice of history as a discipline, because historical knowledge, that is the treasure of human experiences (i.e. the heritage of the world), will become what might be inherited by machine learning algorithms and used in smart cities to highlight and explain present ties and illustrate potential future scenarios and visionarios.

• 문화기술의 융합
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• 제8권4호
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• pp.297-302
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• 2022

디지털 공간에 익숙한 동시대 관람자들은 자기표현 욕구를 드러내며 의사표현 도구로 음성, 텍스트와 제스처를 많이 이용한다. 본 연구의 목적은 발화한 관람자의 내러티브를 관람자의 모습을 이용하여 콜라주 형식으로 표현하고, 관람자의 움직임에 의한 스토리를 재생산하고 확장하는 인터랙티브 아트의 창작이다. 제안된 인터랙티브 아트는 관람자로부터 획득한 음성, 영상 정보를 텍스트 콜라주로 시각화하고, 제스처 정보와 자연스러운 사용자 인터페이스(Natural User Interface)를 이용하여 쉽고 간편하게 실시간으로 상호작용하며 개인화된 감정을 표현할 수 있도록 한다. 관람자로부터 획득한 세 가지 정보는 서로 연결되어 관람자의 현재 일시적 감정을 표출한다. 텍스트의 경직된 내러티브는 관람자의 초상 이미지와 제스처를 통하여 약간의 자유도를 가지게 되고, 동시에 현실과 밀착된 스토리의 구조를 생산하고 확장해간다. 이렇게 창조된 작품 공간은 실시간으로 관람자의 내러티브를 반영하고 갱신되며 창작되는 체험 공간이며, 자신의 반영이다. 또한 관람자의 능동적인 개입과 행위를 통해 적극적인 감상 행위를 유도해낸다.

• 한국게임학회 논문지
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• 제9권5호
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• pp.13-24
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• 2009

전문 스토리텔러들을 양성하기 위한 실무 스토리텔링론이 적극 연구되어야 한다. 최근에 디지털스토리텔링에 대한 관심이 높아지면서 게임스토리텔링의 이론적인 연구가 다양한 각도에서 이루어지고 있다. 그러나 정작 스토리텔러를 양성하기 위한 체계적인 게임 스토리텔링론은 이론적인 틀에 머물고 있으며, 실무적인 부분과 이론적인 부분의 융합은 아직도 미약하기 그지없는 상황이다. 본고에서는 실무적인 게임스토리텔링의 완성도를 높이기 위해, 게임의 내러티브를 구축해 주는 가장 핵심적인 4요소(인물, 사건, 세계관, 게임의 인터랙티브 요소)의 리스트를 작성해 보았다. 스토리텔러가 구상하는 창의적인 발상이 각 분야의 디자이너들에게 정확하게 전달될 수 있도록, 실무적인 측면에서 디테일한 정보리스트를 완성시켜보자는 것이 본 연구의 목표이다.

• 한국콘텐츠학회논문지
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• 제19권9호
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• pp.221-232
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• 2019

K-Pop 성공의 핵심적 영역인 '아이돌' 문화가 가지는 고유성은, 다양한 문화의 수용과 퍼포먼스 역량의 강화 만이 아니라, 새로운 기술적 환경을 효율적인 활용한 데서 찾을 수 있다. 이에 따라 일본 아이돌 시스템과 구별되는 한국의 아이돌 시스템이 정립된다. 그리고 이런 시스템은 새로운 기술적 환경과 함께 더욱 진화하고 있다. 본 논문은 기술적 환경에 대한 한국 아이돌 시스템의 진화 과정을, 아이돌 걸그룹 '아이즈원'의 사례를 통해 살펴보고자 한다. '아이즈원'은, SNS와 뉴 미디어를 적극적으로 활용하고, 상호작용적 서사를 생산해 냄으로써, 빠른 성공을 달성했을 뿐만 아니라, 상호작용적 의례를 통한 팬덤의 안정적인 확장과 내정 동질성을 구축하고 있다. 이런 시스템의 진화와 성취를 일본 아이돌 시스템과 비교함으로써, K-Pop 성공의 요인들을 더욱 분명하게 제시할 수 있을 것이다.

• Journal of Multimedia Information System
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• 제9권1호
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• pp.43-50
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• 2022

As the discourse on Anthropocene grows, this exploratory research investigates the interrelationship and interconnectivity between humanity and technology by analyzing a sound art installation created by the author. Crying Sea is a sound installation that uses plastic wastes collected from the shore to create symbolic narratives and artistic experience connecting humans, objects, and nature through interactive digital technology. In this installation, the audiences are guided to walk over the wastes, and the sounds created by the footsteps are recorded in real-time, which then are distorted and amplified into disturbing sounds through speakers filling up the room. In analyzing this artwork, three theories from technological, philosophical, and ecological backgrounds were used; specifically, Bernard Stiegler's pharmakon theory, Dona Haraway's cyborg manifesto, and Timothy Morton's dark ecology theory. A common factor revealed from all three theories by analyzing the Crying Sea is that humans, technologies, and all other entities within nature are interconnected and resonated. The awareness of this recursive relationship allows us to consider sustainable balancing.