• Journal of Korean Library and Information Science Society
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• v.53 no.1
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• pp.125-148
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• 2022

This study shows the process of designing and directly developing an online archives exhibition platform using AR (AR online archives exhibition platform) as a method for effectively providing online archives exhibition. Furthermore, the usability of the platform developed for actual users was evaluated. Related literature analysis was conducted to derive the functional requirements of the online archives exhibition platform to be guaranteed by the archives exhibition platform. Based on the derived functional requirements, six development strategies were established for the development of an AR online archives exhibition platform. The specific development of the platform was carried out using the Unity Engine and was based on the development strategy. After that, using the developed platform, 'June Democratic Struggle History Exhibition' was planned based on the collection of the Busan Democratic Park. Based on this, this study attempted to specifically evaluate the possibility of applying the actual exhibition service of the platform. Based on this, this study specifically evaluated the possibility of applying the actual exhibition service of the platform, and the usability of the AR online archives exhibition platform based on user experience (UX) was evaluated through platform demonstration for 35 actual users. According to the evaluation results, there were requirements for supplementation due to the use of advanced technology, but the main opinion was that it will be very positive at this time when untact services are being activated due to the Corona Pandemic.

• Smart Media Journal
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• v.11 no.6
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• pp.37-50
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• 2022

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.

• Journal of Korea Multimedia Society
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• v.25 no.3
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• pp.476-492
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• 2022

This study explored at the potentials of exhibition appreciation classes using the metaverse platform, and identified what types of interactions could occur when elementary students participate in the exhibition appreciation education using metaverse platform. We had a user observation research and FGI through implementation of actual elementary class and we analyzed problematic experiences from the viewpoint of user to content and user to user interaction. As a result, fifteen UX improvements were derived by Delphi technique for solving the problematic experiences and improving learner's interactivity.

• Journal of Korea Society of Digital Industry and Information Management
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• v.10 no.1
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• pp.147-155
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• 2014

The rapid increase in the penetration rate and diverse utility of smart devices opens an opportunity for a development in creating a user-oriented ubiquitous system. And it allows audiences to deploy the exhibition-helping contents regardless of the restriction of place and time with using the smart devices of audience themselves. Also it needs to build a mobile web-based portal system for the related services. To do this, Firstly, it needs the corresponding strategies on a smartphone-based environment such as technical competence, systematic preparation of exhibition with compatible mobile contents, and a compatible channel for interactivity. Secondly, it needs the differentiation of exhibition guide with the existing system: an adoption of augmented reality, panoramic technology and simulation effect aiming for an improvement in a sense of immersion and reality for audience, and building up additional contents with a diversity of formats of image, sound, and video for customer satisfaction.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.809-822
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• 2018

Fashion brands communicate with consumers through the use of fashion films that are effective in the delivery of the image. This is because digital media (such as fashion films) are popular and accessible as well as effective in attracting people's attention. The reasons why fashion films have become a new fashion media among many others is becuase they are based on an existing platform. This study will examine offline platforms of fashion film: flagship store, fashion exhibition, and fashion show. The offline platform of a fashion film is a physical space where a fashion film can be exhibited and viewed as a medium that can effectively convey fashion film to consumers. As a research method, the concept of an offline platform of fashion film is established based on a literature review of fashion films and platform that is followed by an empirical case study. The study results show that the offline platform of a fashion film is in the progress of turning into an autotelic space where the consumption of such culture as cinema and theater has become possible.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.05a
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• pp.263-265
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• 2022

In online exhibitions, the artist's differentiated exhibition composition is important because the exhibition immersion decreases compared to offline exhibitions. Therefore, the purpose of this paper is to propose a new online exhibition platform by developing a PC APP service that exhibits the work production process led by the artist. To this end, literature surveys, visitor surveys, and in-depth interviews were conducted. Based on this, a prototype was implemented with Figma and Unity. As a result of the study, visitors answered that online exhibition planning needs to be improved, and the artist said that if the artist's autonomy is guaranteed in the composition of the exhibition hall, the understanding of the work can be improved. By applying this, a system was developed that allows artists to display their own production process data. The significance of this paper is to help visitors improve their understanding of the work and improve the delivery of the artist's work.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.81-91
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• 2019

Fashion exhibitions in museums are an important media to deliver ideas of fashion. Although it still arouses controversy, museums have become an ideal platform for fashion exhibitions since some fashion exhibitions have garnered successful results in mega museums. This can be considered as a cultural phenomenon and a new paradigm since fashion exhibitions in museums are closely related to new museums and fashion museology. Thus, this study examines the definition of 'fashion exhibitions in museums' based on new museums and fashion museology, and then lays the groundwork for its typology through an analysis of preceding research about fashion exhibitions from the 1970s to the present day. In consequence, fashion exhibitions in museums are categorized into five types; retrospective exhibition, survey exhibition, fashion photography and film exhibition, and consider both virtual exhibitions and fashion brand exhibitions.

• 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.

• Proceedings of the KIEE Conference
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• 2006.04a
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• pp.303-305
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• 2006

In this paper, we present an implementation of the URC (Ubiquitous Robotics Companion) robot S/W platform which is based on the Qplus/Esto. We applied this platform to the NETTORO which is made by hanwool robotics for URC exhibition services and test the URC services on it. We expect this platform to be used in variable URC robots as standard S/W platform for improving the compatibility and reusing the developed components.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.19-37
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• 2020

The purpose of this paper is to seek for a new exhibition form of floral art design that deviates from formalism by suggesting a planning exhibition with storytelling away from the unilinear exhibition composition method of floral art design currently being held in Korea. Storytelling in flower art exhibition is to construct an easy-to-understand exhibition through the use of the four-step construction method of introduction-development-turn-conclusion, or the three-step construction method of intro-body-conclusion. It is intended to efficiently propose interaction between creators and viewers. In order to seek for diversification of floral art design, it is necessary to secure a convergent view that has been blowing since the Millennial, collaborate with other fields, or attempt exhibition planning that reflects storytelling. The main function of the exhibition is to meet and communicate directly with the public. This study intends to propose the exhibition structure and implementation direction of floral art exhibition through the case of 'Hwawanggye' held at the Sungkyunkwan University Museum in 2017, focusing on the exhibition where storytelling is applied. Through this study, it is expected that the discourse in the field of floral art will be expanded, and various networks of aesthetic suggestions and floral art design with storytelling will be boosted.