• Journal of the Korea Convergence Society
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• v.11 no.7
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• pp.137-144
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• 2020

Based on the basic concepts and roles of the Science Museum, the research and development of the "Sound Light" interaction exhibition contents and experience exhibition space aimed at providing the exhibition, education and experience of scientific principle directly related to daily life will be implemented in the "Sound Light" exhibition space of the Gwangju National Science Museum. The scope of the research is to define the conditions and elements of the museum's hands-on exhibition by examining the case and status of the existing science museum's experience-type content prior research, and research and development of experience-type exhibition scenarios and contents for children based on them. The results of this research and development content are firstly developed with the theme of light and sound as interactive hologram experience content. Second, by multi-faceted media facade through projection mapping by multiple projectors, visual wide and spectacular screen composition and animation are realized. Third, visitors-oriented exhibitions and experiences that can interact with visitors by moving various colors and sounds together. Finally, interactive content is provided through hologram interfaces through hologram screens to encourage active participation of many visitors in viewing rather than simply delivering exhibition information and to promote revisiting the exhibition. Through a series of studies, it was possible to research and develop contents and experience exhibition spaces with theme park characteristics, which are the trend of science museums.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.109-120
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• 2018

Gamification is an important technology for the museum experience in the future, but there is a lack in both its application and academic studies in Korea. Therefore this study targets the technical strategies of museum gamification by studying domestic and international cases. For this purpose, this study analyzes and compares the cases as personalization, and audience interaction of museum experience and sees how the structure of the digital program affects the museum experience in detail by applying MDA framework to the comparisons. For visitors' active interaction with the museums, gamification should be designed in a way to contribute to visual expression of self identity, utilization of the museum space, constructivist learning free from limit on space and time, and interaction with other people.

• CRM연구
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• v.3 no.1
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• pp.29-47
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• 2010

This study is intended to examine the effect of characteristics of museum visitors and visit type on perceived relative status, aesthetic responses, and perceived visit benefits, which in turn affect visitor satisfaction and personal and social participatory behaviors. Research was held for four weeks. A total of 308 questionnaires were collected out of 315 distributed. However, additional 15 were excluded due to inadequate responses. The findings of the study are as follows: While museum visitor characteristics yielded significant effects on the perceived relative status and perceived visit benefit, it did not have significant effects on aesthetic responses. Additionally, while visit types showed considerable impact on perceived relative status, it did not yield significant effect on aesthetic responses or the perceived visit benefit. Perceived relative status of a museum had positive effects on aesthetic responses, but not on the perceived visit benefit. Furthermore, while perceived relative status did not have significant effect on visitor satisfaction, it did have evident effects on the aesthetic response and the perceived visit benefit. Lastly, greater visitor satisfaction was confirmed to contribute to greater participatory behavior in various prospective programs and events offered by museums. Hence, it would be imperative for museums to gear their attention to encourage internal participatory behaviors such as visitor education, donation and charity events, which would consequently transcend to viewing museums more as a public space shared by the general public.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.5
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• pp.169-175
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• 2023

This paper analyzes museum-related big data using museums and gamification using social media big data, identifies and compares the perceptions of visitors mentioned in social media, and presents ways to use gamification. Based on the collected data, this paper aims to provide data by comparing and analyzing the perception of visitors to the museum and visitors to the museum using gamification. This paper investigates the perception of visitors through social media analysis using TEXTOM, a social media analysis tool, to identify differences in perception. As a result of the analysis, it was found that compared to museums that were previously viewed in the form of exhibitions, they felt fun and interest in visiting museums using geikipication. In addition, based on the analysis results of keywords and related keywords, the perception, motivation, and type of viewing of the museum of the National Museum of Korea and the Independence Hall of Korea were confirmed. In addition, it can be seen that the sense of achievement of visitors who visited the museum using gamification is higher than that of the existing museum. It is believed that by developing and activating game-related content in future museum visits, many visitors will be able to increase their interest in the museum and feel fun and interested. The results of the study are believed to be meaningful as basic data to grasp the overall perception of visitors to the museum, and based on this, it is expected that visitors will be able to see and experience the museum in various ways.

• Journal of the Korea Convergence Society
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• v.13 no.2
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• pp.151-166
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• 2022

Museum is the carrier and symbol of history and cultural accumulation, and the museum cultural relics are clues with the spirit of history. Moreover, the museum cultural and creative products are portable history. Museum has changed form the traditional "object-basic" model to the modern "people-basic" model, which pays more attention to its living inheritance. Therefor, the museum cultural and creative products is also the way of expression of its living inheritance. This paper analyzes the opportunities and difficulties of cultural and creative products of Chinese museums by means of network survey, field survey and expert interview. In order to improve the design method of cultural and creative products. By exploring the cultural connotation, broadening the functional factors, innovating the design factors and creating the empathy factor between products and people to explore and the verify. Trying to make up the imperfect design methods of cultural and creative products in small and medium-sized museums which leads to the lack of function, innovation and communication of cultural and creative products. We try to attract more people's attention, spread traditional culture and realize the resonance between people and objects.

• Journal of Fashion Business
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• v.22 no.5
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• pp.113-124
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• 2018

This study is to find ways to use fast-fashion wedding dresses continuously which usually have worn three or four times and just wasted, which is an current interesting issue over the society. Among clothing from the 19th Century, three styles of Empire, and Crinoline were analyzed from their underwear styles to outwear styles through library and museums and are made for rental service. Based on 8-year-old girls' physical dimensions, openings and closing methods of each size were applied to develop and make rental dress designs. It will be a good opportunity to study history and develop creativity if children can try different styles of dresses from different cultures and times and also experience difference wearing ways as they also have such desire. Underwears were designed to be worn by adjusting cloth rings, rubber bands, or hook and eye to fit different dimensions. The final products are as follows. First, empire dress doesn't need underwear to wear. Depending on the purpose of the rental dress, the back side of upper clothes have lace up by using cloth rings like empire style. Skirt was cut to use hem lace suitably from wasted dress. Second, Crinoline dress is usually configured of Crinoline, Petticoat, Two Piece on Drawers, Chemise, and Corset. It was designed by flat front, bigger sides and backs by Crinoline and Petticoat.

• Journal of the Korean Geographical Society
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• v.51 no.1
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• pp.143-166
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• 2016

This study aims to consider spiritual therapeutic landscapes thought the case of catholic sacred places in Korea. The catholic sacred places, which have been a series of persecution, are distributed in 300 all over the country and can be divided into a formational type, a selective type, and a participatory type. In the formational type, the catholic sculptures are scattered here and there; but it seems that there are limits somewhat to feel the emotional stability and the experience of caring by God. Because the formational type is deserted or is built up in unnoticeable urban areas. The religious factors, for example, museums, special pray, Station of the Cross, Rosary way, statues of the Virgin Mary, catholic sculptures, etc. in the selective type are placed in the corners of the catholic sacred places to provide the opportunity of holy experience to pilgrims. But the level and the intensity of healing depends on the matter as to how much pilgrims experience religious factors voluntarily. Lastly, the participatory type means the experience of various religious factors following scheduled programs. The experience is for the group of pilgrims, not a person; and the human relationship via the religious experience spiritualizes the network of interest towards other participants. Furthermore, the spiritualized open mind towards other people becomes the power that can arrive at the emotional stability, the relief of stress, and the in-depth and authentic healing. Ultimately, the spiritual healing through religious factors is to realize human finitude and dedicate one's own self to God; in addition, the spiritual therapeutic landscapes are the place that can carry out such a spiritual ritual without any restraint.

• Journal of the Korea Society of Computer and Information
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• v.24 no.3
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• pp.49-56
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• 2019

The purpose of this study is to analyze the characteristics and meanings of Instagram hashtags related to the exhibitions as a online communication platform of museums. At the same time, it focuses on efficiency of hashtags as a reference framework of inferring viewing experiences. We collect and visualize Instagram hashtags of exhibitions held in Korea for the past two years including 'Paper Present (2017)', 'YOUTH (2017)', 'Monet, Draw Light Exhibition (2018)', 'Van Gogh Inside (2016)', 'Drawn by the Wind: Shin yun-bok & Jeong Seon'. To sum up, significant data related to viewing experiences are not derived, and hashtags as a reference framework of inferring viewing experiences are turned out to be inefficient. Meanwhile, we conclude that potential for distributing information about the exhibitions is inherent in hashtags. In terms of informational characteristics, we notice that the influence of hashtags related to regional information is presented more than the response toward the viewing experiences. This result shows that Instagram users in the exhibitions are worthy of place making rather than viewing experiences.

• Journal of Korea Game Society
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• v.19 no.4
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• pp.119-138
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• 2019

Digital interactives in museums are expanding and user experience is becoming the focus of exhibition design. The purpose of this study was to suggest guidelines for serious games as a part of museum exhibits. To achieve this, studies on museum education, public space HCI, serious games, and universal design were analyzed by using content analysis methods. Results included 16 quality standards from cognitive, physical, and personal/social models. The findings from this study could benefit the design of future museum gaming interactives.