• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.537-543
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• 2021

Under the Chapter 1, Article 3(Protection of Rights and Interests of Viewers) of the Broadcasting Act, the viewers should be able to participate in decision-making with regard to planning, programming, or production of broadcast programs. For this, the public service broadcasting, KBS is operating two kinds of system such as 'viewer-evaluation program' and 'viewer-participation program' that televises the broadcasting programs directly produced by viewers. This study presented several improvement measures by analyzing the contents of viewer-participation programs televised through the of KBS, so KBS could work as an open public platform in which the people could freely express their own thinking, ideology, opinions, and ideas.

• KIPS Transactions on Software and Data Engineering
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• v.5 no.9
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• pp.441-450
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• 2016

In this study, we investigate the effect of the level of cognitive affordance which explains an explicit interaction method on the interest of viewers. Viewer's recognition of the interaction method is associated with cognitive affordance as a matter of visual-perceptual exposure of the input device and viewer's cognition of it. The final goal of the research on affordance is to enhance the audience participation rather than the smooth interation. Many interactive media artworks have been designed with hiding the explicit explanation to the artwork due to worry that the explicit explanation may also hinder the induction of impressions leading the viewer to an aesthetic experience and the retainment of interest. In this context, we set up two hypotheses for study on cognitive affordance. First, the more explicit the explanation of interaction method is, the higher the viewer' understanding of interaction method is. Second, the more explicit the explanation of interaction method is, the lower the interest of the viewer is. An interactive media art work was manufactured with three versions which vary in the degree of visual-perceptual information suggestion and we analyzed the participation and interest level of audience in each version. As a result of the experiments, the version with high explicitness of interaction was found to have long time spent on watching and high participation and interest of viewers. On the contrary, the version with an unexplicit interaction method was found to have low interest and satisfaction of viewers. Therefore, regarding usability, the hypothesis that a more explicit explanation of interaction would lower the curiosity and interest in exploration of the viewer was dismissed. It was confirmed that improvement of cognitive affordance raised the interaction of the work of art and interest of the viewer in the proposed interactive content. This study implies that interactive media art work should be designed in view of that the interaction and interest of audience can be lowered when cognitive affordance is low.

• Cartoon and Animation Studies
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• s.41
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• pp.533-552
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• 2015

The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.

• Informatization Policy
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• v.30 no.2
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• pp.68-85
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• 2023

In this study, we collected data from live commerce streaming. Streamimg data were then categorized based on the degree of chatting activation, with the distribution of text responses generated by consumers analyzed. From a total of 2,282 streaming data on NAVER Shopping Live -which has the largest share in the domestic live commerce market- we selected 200 streaming data with the most active viewer responses and finally chose the streams that had steep increase or decrease in viewer responses. We synthesized variables from the existing literature on live commerce viewing intentions and participation motivations to create a table of variables for the purpose of the study. Then we applied them with events in the broadcast. Through this study, we identified which components of the broadcast stimulate the variables of consumer response found in previous studies, moreover, we empirically identified the motivations of consumers to participate in live commerce through data.

• Journal of Korea Multimedia Society
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• v.23 no.1
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• pp.58-66
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• 2020

5G-based HMD technology grew rapidly in the context of the environment change of convergence technology media and mobile networks in the fourth industrial era. It has also grown into a core technology that transforms our digital visual system. However, there is no research or system that can understand and verify radical visual system changes. Therefore, it is necessary to have an engineering understanding and verification of the diffusion of HMD media imaging devices. Beyond the distinction between virtual and real, research is urgently needed on the new three-dimensional interface of the 21st century through viewer participation. For this reason, research on the algorithm structure of interactive video media using L-System is an essential process and will be a guide to understanding the virtual reality interactive environment.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.13 no.4
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• pp.157-163
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• 2013

The development of the latest media technology has changed the traditional broadcasting system. The traditional broadcasting system, which was operated by the mass media and the terrestrial broadcasters, is now transformed to the viewer-centered and bidirectional media through the convergence of internet and mobile. In terms of broadcasting environment, the function of the traditional TVs has been changed to the Smart TVs combined with an open platform which not only deliver visual contents, but also supply various applications and additional information linking the content providers and viewers. This ongoing broadcasting environmental change has made it possible for viewers to participate in the programs such as reality shows or sports events through SNS, texting or phone calls. Therefore, the purpose of this experiment is to present the ways to promote easier and more convenient viewer-participation in the programs by applying mobile messenger to existing broadcasting system in order to enhance the involvement of broadcasters and viewers of the programs and to diversify the roles of content providers and viewers in broadcasting.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.213-221
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• 2018

As the mobilization of audience' media consumption getting escalating, terrestrial broadcasting, especially public broadcasting is severely affected in Korea. After 9 years' downfall, public broadcasting is trying to aim for citizen platform. Even though the Korean broadcasting law already has the articles of protecting viewer's right and profit, it has some contradictory limits also. Implied by Japanese magazine Taberutsushin, which was originated from CSA model, I suggest the new model of committee for viewers. The new committee for viewers has various planning committees and evaluation committees to ensure citizen's participation on planning, programming, and production. The new committee for viewers would function as minimum system to prompt the public broadcasting to play it's role in rapidly changing digital era.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.353-358
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• 2014

Interactive art is implemented by participants interaction, characterized by the virtuality, immersion, interactivity. Among these features, immersion is important factor to absorb in the interactive art. From now, Interactive art measurement methods are mainly used in interview, questionnaire, and physiological methods. But these methods are difficult to measure the exact immersion, can give interfere with viewer's participation in the interactive art. In this paper, we propose the immersion measurement method which based on participant's moving lines, observation time with mobile devices, camera. This paper can help to analyse degree of immersion on interactive art.

• Korean Institute of Interior Design Journal
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• v.27 no.3
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• pp.108-115
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• 2018

The atmosphere is a popular word in everyday life. There is often an atmosphere when we enter a particular place. As if to say, The mood is perceived as an emotional and subjective word. Atmosphere is subjective and there are different feelings, but there are definitely certain feelings that people can relate to. The researcher examines the question in the paper and analyzes how the atmosphere in the space could be explained. So I will research about $B{\ddot{o}}hme^{\prime}s$ aesthetics which is called atmosphere. and analysis how his atmosphere is applied in nowadays art. So this study has two purposes. First is the notion of the atmosphere, not the atmosphere of rational perspective, it's about emotional and perceptual experiences. Therefore a connection about audience and arts is the most important focus in atmosphere. So the other purpose is Olafur Eliasson's Atmosphere. he is an artist about this perception. His work requires spectator intervention and participation to make it a perfect art. There is also a element in Eliasson's philosophy, in which the perceptual experiences of visitor's relationship between the work and the viewer, and eliminates the boundary as a perceptual expression.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.335-338
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• 2010

Passage of 2000 United Broadcasting Law was included the viewer right guarantee reinforcement provision which is relation of broadcasting participation and directness of the citizen and access broadcasting introduction relation provision. It guarantees an access program time zone in representative ground green onion public management broadcasting, in order for new media broadcasting the cable TV which is the possibility of doing and to case of Direct Broadcasting by Satellite the audience will want to organize a case where audience direct production program.