• Cartoon and Animation Studies
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• s.32
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• pp.315-333
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• 2013

This study aims to investigate that today's Mixed Reality Technology did not appear suddenly but has its beginnings in 20th century Visual and Interactive Art. First, Photographic Art expressed three-D on the two-dimensional plane and mixed images of reality and virtuality. Photogram made people experience both two-dimensional images and three-dimensional effects concurrently, and Photomontage combined various photos and mixed reality and virtuality. Next, Cinema tried to combine virtuality and reality using objets and CG. Early Cinema composed films and real objets. As computer technology developed, Cinema composed objet CG on real images and then tried background CG compositing. Finally, Telepresence Art tried a new possibility of Mixed Reality breaking the boundary between reality and virtuality, subject and object. It oscillates between virtual space in reality and real space in virtuality, or represents Mixed Reality by remote control of long distance participants. In the future, for the development and direction of Mixed Reality, there will be more need of referring to Visual and Interactive Art.

• Journal of Convergence for Information Technology
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• v.11 no.5
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• pp.118-129
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• 2021

The In Korea, where multicultural families are increasing, the need to reinforce multicultural competencies has been raised in education. Accordingly, this study selected 7 art textbooks of 2015 revised middle school and analyzed the proportion of the textbook's reference works and contents from the Macfee's perspective of multicultural education. As a result of the analysis, first, the proportion of multicultural reference works by region was high in Korean works(44%) and Western works (43%), whereas that of Eastern works(13%) was very low. In the experience area, 13.8% more Western works were included than Korean works, and Western works were also concentrated in USA and Europe. Second, as a result of analyzing the proportion of multicultural contents, 57.7% of the total units, or 90 units out of 156, contained multicultural contents. As a result, compared to the 2009 revised art textbooks, the 2015 revised middle school art textbooks have expanded the proportion of multiculturalism.

• Journal of Korea Game Society
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• v.18 no.6
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• pp.49-58
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• 2018

This study analyzes semiotic aspects of game concept art which is developed considering individual 's color experience. The six stages of Frank H. Mahnke's color pyramid are roughly classified into three categories, and how the game concept art meets each stage. Using the Roland Barthes's mythological-symbolic model of meaning, The meaning of righteousness and the characteristics of newly derived symbols. The results showed that colors could make the background stage more recognizable or intended to have a particular impression. In this way, game concept art, in which what is intended to be implemented in game development, can identify various functions and possibilities of game concept art, such as presenting game convenience as well as impression through a combination of various colors.

• Journal of Conservation Science
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• v.37 no.4
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• pp.362-369
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• 2021

In museums, exhibition content focuses mostly on cultural heritage's historical values and functions, but doing so tends to limit visitors' interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors' traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors' scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as "easy to understand and useful as the esoteric science exhibition was combined with media art" (16.7%), "wonderful and interesting" (11.7%), and "firsthand experience was good" (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors' active participation. This exhibition's content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.

• International Journal of Computer Science & Network Security
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• v.22 no.10
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• pp.31-36
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• 2022

In modern socio-cultural conditions, the requirements for the quality of professional training of graduates of higher educational institutions are increasing. This issue has become especially acute with the advent of pandemic conditions. The ability to apply the existing competencies in the situation of challenges of the 21st century to solve complex social and professional problems is an important criterion for the quality of higher education. Modern professional art education is undergoing many reforms and transformations. Particular attention is paid to innovative teaching methods, thanks to which future specialists experience the breath of innovative education. This issue is especially relevant during the spread of the COVID-19 pandemic. Since students of creative specialties must also have certain competencies, within the framework of the educational process, the competence-based approach to teaching plays a key role, is the methodological basis in the system of modernization of higher professional art education. Thus, the main task of the study is to analyze the process of formation of professional competence among students of art institutions of higher education in the context of COVID-19. As a result of the study, the main aspects of the process of formation of professional competence among students of art institutions of higher education in the context of COVID-19 were investigated.

• Journal of the Korea Society of Computer and Information
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• v.29 no.10
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• pp.185-195
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• 2024

In this paper, we propose a comparative evaluation framework for digital services in the Museum of Modern and Contemporary Art, focusing on user experience analysis of both mobile apps and curating-bots. Our method assesses the efficiency, support, and innovative attributes of these services, particularly regarding their Pragmatic Quality (PQ) and Hedonic Stimulation (HS). The proposed framework combines empirical user engagement data via survey with hypothesis testing to determine the influences of digital services such as the mobile app and curating-bot on visitor satisfaction and immersion. The research team demonstrates the suitability of the Technology Acceptance Model (TAM) and the Quality-Value-Loyalty (QVL) Chain in evaluating digital services in the art museum context and the impact of these services on the visitor experiences.

• Korean Association of Arts Management
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• no.60
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• pp.121-153
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• 2021

The purpose of this study is to empirically clarify the relationship between the aesthetic experience of visitors and the effect of online exhibitions at museums on the degree of viewing an offline exhibition. For this reason, the attributes of online exhibitions are composed of accessibility, interaction, informativeness, playfulness, etc., and the aesthetic experience is composed of four factors: emotional, communicative, cognitive, and perceptual areas. A survey was conducted to analyze the effect on viewing intention. The results of multiple regression analysis of the questionnaire results revealed that first, the online exhibition service had a partially significant positive(+) effect on the aesthetic experience. It was analyzed that informativity had the greatest effect on the emotional domain of aesthetic experience, playfulness had the greatest impact on the communication and perceptual domains, and access had the greatest impact on the cognitive domain. Second, it was found that online exhibitions had a partially significant positive (+) effect on offline exhibition viewing intention in the order of playfulness, interactivity, and informativity. Third, it was found that aesthetic experiences had a significant positive (+) effect on offline exhibition viewing intention in the order of cognitive, emotional, communication, and perception. In addition, it was confirmed that the aesthetic experience partially mediated the intention to view online and offline exhibitions. We hope that this study will serve as an opportunity to spark academic discussion along with practical implications for inducing online exhibition users to offline exhibitions.

• Journal of Digital Convergence
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• v.16 no.2
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• pp.287-292
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• 2018

The purpose of this study is suggest the guideline by analyzing and categorizing the case of trends of Beacon technological development and Beacon-Based service in culture and art space of domestic and overseas. I did some literature research followed with theoretical background of beacon service, also did case study of beacon service application in domestic and overseas culture space. The result indicate that beacon technology can provide a variety services in a wide space. Through domestic and overseas case studies, it was found that beacon service in domestic exhibition space should be given as experience-oriented services beyond benefit-oriented services. As this point of time, this study will become a good resource for various communication services through beacon service in Korea.

• The Journal of Art Theory & Practice
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• no.13
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• Journal of the Korea Society of Computer and Information
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• v.26 no.5
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• pp.31-38
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• 2021

This study empirically investigated the user's experience with based on the Technology Acceptance Model. According to the frequency analysis results, the usability for learning was evaluated relatively higher than that for appreciation from the perspective of perceived usefulness and the technical factors such as graphics and modeling raised the issue for the quality improvement. According to the results of the correlation analysis, the usability for learning correlated with the degree of satisfaction. In addition, all detailed factors of perceived ease of use positively influenced on the degree of satisfaction and the impact of the environmental factor on the degree of satisfaction was greatest. The degree of satisfaction with the VR application significantly correlated with the degree of immersion and behavioral intention to the VR application. Therefore, this study proved the suitability for the Technology Acceptance Model as a tool for evaluating a VR application.