• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of Korea Game Society
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• v.11 no.2
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• pp.29-37
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• 2011

As a field in Digital Arts, interactive video introduced the mirror metaphor to the foundation of media, given its characteristic as a medium that extracts an audience image in a particular perspective. The interactive video work introduced in this paper addresses conceptual topics in the extension of Zhuangzi's Butterfly Dream and illustrates the technological approaches that employ an intensity-based computer vision processing in order to obtain the silhouette of audience for multiple graphical butterflies to draw an audience image. Users generate narratives in the interaction with the projected image. Sound is used in order for the system to provide augmented perception in the space and to add more rooms for narratives. The computer vision and the graphics methods introduced in this paper are suggested as tools for interactive video.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.493-504
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• 2020

The objectives of this study was to examine the effect of Interactive Video Game on cognitive information processing the elderly. Sixty elderly were attended in this study. Their ages ranged from 65 to 70, with a mean age of 67.60 years. The subjects were randomly assigned to one of three experimental conditions: (1) interactive video game group (n=20), (2) aerobic exercise group (n=20), (3) control group (n=20). The experimental design of this study was analyzed using two-way ANOVAs with repeated measures of groups and time. Cognitive function was assessed by neuroelectrical response, and ERP analysis. The results of the study showed that the interactive video game group and aerobic exercise group showed no significant statistical differences in the response time, response accuracy, amplitude and potential of the performance of the exercise in cognitive function and ERP analysis, but improved the interaction video game group and aerobic exercise (walking) group over the control group. It was concluded that long-term aerobic exercise like interactive video game is associated with attenuation of cognitive decline in the elderly.

• International Journal of Contents
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• v.7 no.3
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• pp.29-37
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• 2011

This research discusses the unique characteristics of Japanese video game from the cultural viewpoint of Japan's traditional play. It starts with the possibility that Japanese video game can share the characteristics of traditional Japanese play. Accordingly, this research first considers the connection between play and video game for a theoretical background, by comparing their theoretical definitions and characteristics. Particularly, it shows the research direction from the viewpoint of Ludology that approaches video game from the aspect of play. Second, the characteristics of traditional Japanese play are examined in connection with Japan's inherent animism culture. Based on such characteristics, the common characteristics and backgrounds of Japanese video game and traditional Japanese play are discussed from the 'spatial' aspect of game, from the 'identity' aspect of game characters, and from the 'motive' behind playing game.

• Journal of Korea Game Society
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• v.19 no.5
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• pp.39-52
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• 2019

Recently many studies has been conducted for interactive game to contents immersion through visual stimuli. Among them, Multi-Plane Image tech is suitable for projecting video in wide views, but it is difficult to perform calibration and mapping tasks for viewing separately. In this paper, we developed a calibration mapping applies to the field archery game space in the form of CAVE. As a result, we maintained the resolution confirmed the space through the video without distortion and expect to be applicable to the fields requiring presence, such as training contents.

• Journal of Korea Game Society
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• v.5 no.2
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• pp.3-9
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• 2005

Interactive real-time 3D enables users to explore virtual three dimensional environments and also experience contents in an absorbing fashion. Unlike other media, Interactive real-time 3D users take an active role in the process of "real-time fashion" where action and reaction occur instantly in a digital 3D structure. Once the components and origins of interactive real-time 3D is made, it is possible making principles of the beauty that help decide success or failure of real-time 3D in two way system. Substantial real-time 3D has not yet passed 10 years so it was unable to make sufficient precedents of fundamental artistic value based upon the credibility of the media. The goal is to explain the new form of design in relation to general principles of arts at the same time to understand the technical definition better. Concepts of historical documentation are explained with an example of categorization of recent video game and recent technology. This thesis concludes with rough forecast on the future interactive real time 3D. Since the medium began relatively recently and is developing in the rapid pace, recent analyses, though clear forecast is difficult, tend to investigate potential directions to some level the field allows.

• IEIE Transactions on Smart Processing and Computing
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• v.3 no.5
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• pp.306-312
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• 2014

The arcade gun has been a popular game controller in the video game market from the 1970s. The arcade gun, which is used partially in game centers and domestic games, recently is utilized as the interface for the interactive system and tangible media. On the other hand, the existing arcade gun has limits on hardware so it is unsuitable for wide screens. In addition, being platform-dependent, it is inapplicable to various types of content as a single module. This study suggests a correction algorithm that establishes an arcade gun system based on an infrared camera to solve those drawbacks and apply to possibly numerous surroundings.

• Journal of the Korean Society of Physical Medicine
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• v.7 no.1
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• pp.87-94
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• 2012

Purpose : The purpose of this study was to examine the feasibility and efficiency of balance training program through an interactive video game regimen in people with chronic stroke. Methods : Thirty patients with chronic hemiparetic stroke were recruited. Participants were randomly assigned to either a control group (n=15) or an experimental group (n=15). The control group received the general physical therapy including of strengthening and balance exercise five times a week whereas the experimental group received a program of balance exercise with video game play based on virtual reality as well as the same typical physical therapy. The experimental group received 6 sessions for four weeks. Each session was given 5 minutes. An interactive computer game exercise regimen lasted 30 minutes without rest periods. Outcome measures for weight transfer to paretic side, non-paretic side and sit-squat-speed, sit-squat-length, sit-to-standspeed and sit-to-stand-area for the control group (n=15) and experimental group (n=15) before and after treatment were obtained by using the biorescure. Results: Outcomes demonstrated significant improvement in the experimental group compared with the control group in weight transfer to paretic side, non-paretic side and sit-squat-speed, sit-squat-length, sit-to-stand-speed. No significant training effect was showed in sit-to-stand-area between pretraining and post-training. Conclusion : An interactive computer game exercise based on task oriented approach for balance in chronic stroke were feasible. In other words, This regimen resulted in a greater improvement in dynamic balance for people with chronic stroke.

• Journal of Korea Game Society
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• v.12 no.1
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• pp.57-65
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• 2012

Interactive games allow users to obtain embodied experience using the bodies as controllers. The same is true in interactive media arts where users engage in active participation. In contrast to video games, physical body feedback is desired and such practice can be found in robotic arts. I suggest that interactive media arts and interactive games should share common foundations. In this context, I introduce and explain an interactive robotic art work implemented. This work is a musical instrument that employs a robot which travels sitting on two strings in response to audience positions. In results, the robot modulates the vibrations of the strings by causing the effective lengths of the strings changed. The robot uses an economic multi-cell proximity sensor in order to track the audience. In the interaction, phenomenological tension could take place in the performative narrative space. In this paper, I discuss this interactive robotic work in the context of interactive games with a few examples.

• Journal of Korea Game Society
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• v.17 no.5
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• pp.61-70
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• 2017

The fusion of virtual and reality and the revolution of gamification are beginning in human culture. As the quaternary industrial revolution enters the era, major developments of convergence main content games are expected as human-made play products. Now that we need a diverse game IP, we need a methodology that makes it easy to approach game scenario creation. The creation of the game scenario has a very large difference due to interactivity with the general video scenario. Therefore, without interactive knowledge, it is difficult to challenge game scenario creation. In this paper, 'Game Scenario Creation List' was created in order to lower the barriers to entering game scenario creation. I hope that this paper will be even a little positive for the development of game contents.