• Title/Summary/Keyword: Music Industries

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A Recommender System Using Factorization Machine (Factorization Machine을 이용한 추천 시스템 설계)

  • Jeong, Seung-Yoon;Kim, Hyoung Joong
    • Journal of Digital Contents Society
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    • v.18 no.4
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    • pp.707-712
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    • 2017
  • As the amount of data increases exponentially, the recommender system is attracting interest in various industries such as movies, books, and music, and is being studied. The recommendation system aims to propose an appropriate item to the user based on the user's past preference and click stream. Typical examples include Netflix's movie recommendation system and Amazon's book recommendation system. Previous studies can be categorized into three types: collaborative filtering, content-based recommendation, and hybrid recommendation. However, existing recommendation systems have disadvantages such as sparsity, cold start, and scalability problems. To improve these shortcomings and to develop a more accurate recommendation system, we have designed a recommendation system as a factorization machine using actual online product purchase data.

Creative Industry Digital Transformation Case Study: Market Reorganization Strategy and Platform (창작 산업 (Creative Industry) 디지털 트랜스포메이션 사례연구: 시장재편전략과 플랫폼중심으로)

  • Lee, HoGeun;Lee, SeoYoung
    • Journal of Digital Convergence
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    • v.18 no.7
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    • pp.177-188
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    • 2020
  • In the digital world, creative industries such as music, movies, and drama have been the most impacted by digital transformation. As these contents were converted to a digital format of 0s and 1s, the business model changed and so did the rules of competition in the market. Apple, Spotify, and Netflix were quick to ride the digital transformation wave to become market leaders in the creative industry. This study reviews case studies in the creative industry to grasp the important factors necessary for market restructuring using digital technology. It was found that companies that set visions, platform, and open innovation as business strategies were able to achieve critical mass and become market leaders. These three elements are commonly found in the contents industry. On the other hand, companies that did not embrace digital innovation have become victims of digital darwinism. By analysing the experience of digital product innovation through case studies in the creative industry, we can derive implications for digital transformation in the 4th industrial revolution.

Analysis on Service Robot Market based on Intelligent Speaker (지능형 스피커 중심의 서비스 로봇 시장 분석)

  • Lee, Seong-Hoon;Lee, Dong-Woo
    • Journal of Convergence for Information Technology
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    • v.9 no.5
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    • pp.34-39
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    • 2019
  • One of the words frequently mentioned in our society today is the smart machine. Smart machines are machines that contain smart or intelligent functions. These smart machines have recently been applied in our home environment. These are phenomena that occur as a result of smart home. In a smart home environment, smart speakers have moved away from traditional music playback functions and are now increasingly serving as interfaces to control devices, the various components of a smart home. In this study, the technology trends of domestic and foreign smart speaker market are examined, problems of current products are analyzed, and necessary core technologies are described. In the domestic smart speaker market, SKT and KT are leading the related industries, while major IT companies such as Amazon, Google and Apple are focusing on launching related products and technology development.

A Study on the Effects and Application Cases of Education Using Metaverse in the Non-Face-To-Face Era (비대면 시대에 메타버스를 이용한 교육의 효과와 적용사례에 대한 연구)

  • Song, Eun-Jee
    • Journal of Practical Engineering Education
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    • v.14 no.2
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    • pp.361-366
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    • 2022
  • Recently, with the development of virtual and augmented reality technology, metaverse is emerging as a new paradigm that will lead the next-generation internet era, and social and economic activities are spreading around the game, entertainment, music, and content industries. Moreover, as non-face-to-face conversion accelerated after the outbreak of COVID-19, lifestyles and industrial sites are becoming untact and further rapidly becoming a metaverse. In particular, the application of metaverse to the education field is attracting attention because realistic classes using real-time voice conversations using avatars, 3D objects, and 360-degree images can increase immersion and overcome the limitations of distance education. This study examines the concept of metaverse and examines that education using metaverse can be an alternative that can increase the efficiency of education in the non-face-to-face era. In particular, it shows that it is effective in language education and suggests an actual metaverse-based Korea language education program.

The Mediating Effect of Experiential Value on Customers' Perceived Value of Digital Content: China's Anti-virus Program Market (경험개치대소비자대전자내용적인지개치적중개영향(经验价值对消费者对电子内容的认知价值的中介影响): 중국살독연건시장(中国杀毒软件市场))

  • Jia, Weiwei;Kim, Sae-Bum
    • Journal of Global Scholars of Marketing Science
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    • v.20 no.2
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    • pp.219-230
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    • 2010
  • Digital content makes big changes to our daily lives while bringing opportunities and challenges for companies. Creative firms integrate pictures, texts, videos, audios, and data by digitalization to develop new products or services and create digital experiences to promote their brands. Most articles on digital content contribute to the basic concept or development of marketing it in literature. Actually, compared with traditional value chains for common products or services, the digital content industry seems to have more potential value. Because quite a bit of digital content is free to the consumer, price is not necessarily perceived as an indicator of the quality or value of information (Rowley 2008). It becomes evident that a current theme in digital content is the issue of "value," and research on customers' perceived value of digital content is a necessity. This article argues that experiential value has an advantage in customers' evaluations of digital content. Two different but related contributions to the understanding of "value" of digital content are made here. First, based on the comparison of digital content with products and services, the article proposes two key characteristics that make experiential strategy available for digital content: intangibility and near-zero reproduction cost. On top of that, based on the discussion of the gap between company's idealized value and customer's perceived value, this article emphasizes that digital content prices and pricing of digital content is different from products and services. As a result of intangibility, prices may not reflect customer value. Moreover, the cost of digital content in the development stage may be very high while reproduction costs shrink dramatically. Moreover, because of the value gap mentioned before, the pricing polices vary for different digital contents. For example, flat price policy is generally used for movies and music (Magiera 2001; Netherby 2002), while for continuous demand, digital content such as online games and anti-virus programs involves a more complicated matter of utility and competitive price levels. Digital content companies have to explore various kinds of strategies to overcome this gap. Rethinking marketing solutions such as advertisements, images, and word-of-mouth and their effect on customers' perceived value becomes essential. China's digital content industry is becoming more and more globalized and drawing special attention from different countries and regions that have respective competitive advantages. The 2008-2009 Annual Report on the Development of China's Digital Content Industry (CCIDConsulting 2009) indicates that, with the driven power of domestic demand and governmental policy support, the country's digital content industry maintained a fast growth of some 30 percent in 2008, obviously indicating the initial stage of industry expansion. In China, anti-virus programs and other software programs which need to be updated use a quarter-based pricing policy. Customers can download a trial version for free and use it for six months or a year. If they want to use it longer, continuous payment is needed. They examine the excellence of the digital content during this trial period and decide whether to pay for continued usage. For China’s music and movie industries, as a result of initial development, experiential strategy has not been much applied, even though firms in other countries find the trial experience and explore important strategies(such as customers listening to music for several seconds for free before downloading it). For the above reasons, anti-virus program may be a representative for digital content industry in China and an exploratory study of the advantage of experiential value in customer's perceived value of digital content is done in the anti-virus market of China. In order to enhance the reliability of the survey data, this study focused on people who were experienced users of anti-virus programs. The empirical results revealed that experiential value has a positive effect on customers' perceived value of digital content. In other words, because digital content is intangible and the reproduction costs are nearly zero, customers' evaluations are based heavily on their experience. Moreover, image and word-of-mouth do not have a positive effect on perceived value, only on experiential value. That is to say, a digital content value chain is different from that of a general product or service. Experiential value has a notable advantage and mediates the effect of image and word-of-mouth on perceived value. The results of this study help provide an understanding of why free digital content downloads exist in developing countries. Customers can perceive the value of digital content only by using and experiencing it. This is also why such governments support the development of digital content. Other developing countries whose digital content business is also in the beginning stage can make use of the suggestions here. Moreover, based on the advantage of experiential strategy, companies should make more of an effort to invest in customers' experience. As a result of the characteristics and value gap of digital content, customers perceive more value in the intangible digital content only by experiencing what they really want. Moreover, because of the near-zero reproduction costs, companies can perhaps use experiential strategy to enhance customer understanding of digital content.

A phenomenon Study on Acceptance Universe of K-pop Audience : Focused on Group Aespa's Universe Case (K-pop 수용자의 세계관 수용 현상 연구 : 그룹 에스파의 세계관 사례를 중심으로)

  • Kim, Nakyung
    • Trans-
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    • v.12
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    • pp.173-222
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    • 2022
  • This thesis examines the 'universe' acceptance phenomenon, currently used as a content strategy in the K-pop field, from the perspective of K-pop audiences, and then attempts to identify their experience of acceptance and the meaning of the universe. For this, tweets related to the universe acceptance experience of Aespa, the group utilizing the universe as a content strategy the most actively, were collected, and this data was analyzed according to a phenomenological approach, an approach to explore the structure of personal experience and the essence of a phenomenon. As a result of analyzing using Moustakas' method, the semantic structure of the universe acceptance phenomenon of K-pop audiences was derived based on 21 thematic units. It was found that current K-pop audiences are experiencing active cultural consumption rather than unilateral or passive through acceptance of the universe. This means that K-pop audiences have the characteristics of active audiences that produce meaning, interact with other fans, and exert influence on outside of community. At the same time, these characteristics affect acceptance of the universe. Simultaneously, through active acceptance experience, it is found that K-pop audiences give a new meaning in the K-pop universe, as "marketing assets", "fandom community assets", and "K-pop industry expansion assets." Among them, the recognition of 'marketing assets' was reaffirmed as a basis for supporting related previous studies. In addition, it derived the new values of the universe in the K-pop field by discovering the meaning of "fandom's specific assets" and "assets of the K-pop industry for expansion". These meanings had not been found that previous studies from the producers' point of view. And then, for the purpose of expanding the value of the universe in the future, it was discussed the direction of the new meaning of the universe. Finally, this study is meaningful in that it revealed the semantic structure of the universe acceptance phenomenon and discovered a new meaning of the universe in the K-pop field. Additionally, it was intended to contribute to expanding the field of research by suggesting various follow-up studies from various perspectives.

Local Cultural Ecosystem and Emerging Artists: A Study on Hindering Factors in Creative Activities of Young Artists in Gwangju by Adopting Creative Sector Holistic Model (지역문화생태계와 청년예술가 - Creative Sector Holistic Model을 적용한 광주 청년예술가들의 창작 활동 저해요인에 관한 연구 -)

  • Kim, Miyeon;Kim, InSul
    • Korean Association of Arts Management
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    • no.51
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    • pp.5-34
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    • 2019
  • This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.