• The Journal of Art Theory & Practice
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• no.14
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.146-156
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• 2019

New media art moves out of place and time constraints, sublimates the benefits of technology into art, and presents a new way of communication with the audience. This paper analyses the tendency of nonverbal communication methods by analysing examples of facial expressions and sound used in new media art from early times. As a result, it can be seen that the digital paradigm in the new media art has a nonlinear thinking, which makes a perceptual reduction of immersion and dispersion. The facial expression in new media art made it possible not only to overcome the limit of space and time of various expressions through 'visual distortions, enlargement, and virtualisation', but also to enable new ways of communication to display facial parts combined or separated in the digital environment. The sound in new media art does not stay in auditory sense, but pursues multi-sensory and synesthesia by cooperating with visual and tactile, evolves by revealing characteristics of space expansion and sensibility and interaction of audience.

• Korean journal of communication and information
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• v.37
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• pp.43-72
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• 2007

This article is media education uses type of a middle high school students and research about effect that is taking media education. Measured media education uses motivation, studies own effect academic self-efficacy, media competence and school achievement for this research. As analysis result, priority media education uses motive was 'teaching convenience/help sought', 'Information/education method picking up sought', 'new teaching/communication thoroughgoing sought', 'ability elevation pursuit', 'self-regulating education sought', 'up-to-dateness sought', 'New knowledge/education sought' of order. By next time, only 'new knowl edge/education sought' motive caused positive effect in studies own effect among media education uses motive. Among media education uses motive, 'teaching convenience/help sought', 'Information/education method picking up sought', 'New study/communication thoroughgoing sought', 'self-regulating education sought', 'up-to-dateness sought' motive caused positive effect in media competence. Also, it caused positive effect among media education uses motive 'self-regulating education sought' and 'new knowledge/education sought' in students' school achievement. Finally, 'academic self-efficacy' is 'media competence' more in school achievement influence. Media education influenced new teaching method and ability elevation to some students. But, academic self-efficacy and school achievement did not cause big effect students. However, media education influenced in some students' media competence elevation.

• Proceedings of the IEEK Conference
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• 2002.07a
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• pp.417-420
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• 2002

Recent works in the area of multimedia studies focus on a wide range of issues from the impact of multimedia on culture to its impact on economics and anything in between. The interconnectedness of the issues raised by this new practice is complicated by the fact that media are rapidly converging: in a very real way, multimedia is becoming a media prism that reflects the way in which media continually influence each other across disciplines and cultural borders. Thus, the impact of multimedia reflects a complicated crossroads where media, human experience, culture and technology converge. An effective design is generally based on shaping aesthetics for function and utility, with an emphasis on ease of use. However, in designing for cyberspace, it is possible to create narratives that challenge the interactor by encoding in the design an instructional aspect that teaches new approaches and forms. Such a design offers an equally aesthetic experience for the interactor as they explore the meaning of the work. This design approach has been used constructively in many applications. The crucial concern is to determine how little or how much information must be presented for the interactor to achieve a suitable level of cognition. This is always a balancing act: too much difficulty will result in interactor frustration and the abandonment of the activity and too little will result in boredom leading to the same negative result In addition, it can be anticipated that the interactor will bring her or his own level of experiential cognition and/or accretion, to the experience providing reflective cognition and/or restructure the learning curve. If the design of the application is outside their present experience, interactors will begin with established knowledge in order to explore the new work. Thus, it may be argued that the interactor explores, learns and cognates simultaneously based on primary experiential cognition. Learning is one of the most important keys to establishing a comfort level in a new media work. Once interactors have learned a new convention, they apply this cognitive knowledge to other new media experiences they may have. Pierre Levy would describe this process as a "new nomadism" that creates "an invisible space of understanding, knowledge, and intellectual power, within which new qualities of being and new ways of fashioning a society will flourish and mutate" (Levy xxv 1997). Thus, navigation itself of offers the interactors the opportunity to both apply and loam new cognitive skills. This suggests that new media narrative strategies are still in the process of developing unique conventions and, as a result, have not reached a level of coherent grammar. This paper intends to explore the cognitive aspects of new media design and in particular, will explore issues related to the design of new media interfaces. The paper will focus on the creation of narrative strategies that engage interactors through loaming curves thus enhancing interactivity.vity.

• Particle and aerosol research
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• v.8 no.4
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• pp.133-141
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• 2012

A new depth filter media was designed and samples of flat sheet as well as cartridge assembly were prepared and tested to evaluate the filtration performance and compare with the commercial product. The arrangement of the depth filter media layers is important to reach the optimal filtration parameters like filter pressure drop, particle collection efficiency and dust holding capacity. Initially, both flat sheet samples of new media and commercial product have been tested using standard test units. Tests with new depth filter media cartridges of various pleat count were conducted in order to find the optimal pleat count which would represent the lowest pressure drop. These tests give an insight on how the pleat count and the assembly configuration affect the performance of the depth filter media cartridge. By comparing the samples with a commercial product we could confirm relatively high filtration performance of the sample cartridge with pleat count 150 made of new depth filter media. The cartridge with the same pleat count exhibits better performance without the outer mesh.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.221-231
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• 2017

The purpose of this study was to investigate the relationship between traditional media communication, new media communication, lovemarks, satisfaction, and behavioral intention in foodservice industry. As the results of study as followed. First, traditional media communication had a significant effect on love dimension, but no significant effect on respect dimension of lovemarks. Second, new media communication had a significant effect on love and respect dimension. Third, love and respect dimension of lovemarks had a significant effect on satisfaction and behavior intention respectively, also satisfaction had a significant effect on behavior intention. Fourth, as a result of the indirect effect analysis of the research model, the traditional media and new media communication had a significant effect on satisfaction through lovemarks, and a significant effect on the behavior intention through lovemarks and satisfaction. This result shows that the enhancement of consumer's communication experience and lovemarks recognition can promote post-purchase behavior such as satisfaction with brand and behavioral intention.

• Journal of Korea Society of Digital Industry and Information Management
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• v.6 no.3
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• pp.151-158
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• 2010

Media Skin is in form extended of TV or computer monitor that is digital media picture or digital output of graphic. Mean reflex or graphics applied in LCD Window of portable phone or LED display etc. of city environment mainly. Draft and study skill development trend and studied about role as graphic modeling to Media Skin. Media Skin that inflect LED over inside and outside of the country impulse to steal current is embodied. It is situating from modern society to one media trend. Progressed general investigation about Media Skin's connection skill in research. As culture contents progressed determinate research to graphic modeling element etc. As graphic modeling of new media special quality is construed by 4 as following. Contact, Real time, Nonlinear, Multi-Communication are it. Media Skin has function as symbol of city or media construction facade. Also, have enough value as function new media as information offer function, art.

• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• Asian Journal for Public Opinion Research
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• v.1 no.4
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• pp.292-306
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• 2014

China's "two sessions," namely, the National People's Congress (NPC) and the Chinese People's Political Consultative Conference (CPPCC), has significant meaning to the political life of the nation. It collects opinions and advice from different groups of people annually. "Two sessions" 2013 was especially eye-catching, because new state leaders were elected at the meetings. Using CATI (Computer Assisted Telephone Interviewing) system, the Media and Public Opinion Center of Fudan University (FMORC) conducted surveys of China's "two sessions" every year from 2007 to 2013. In 2013, the influence of new media on public opinion has become increasingly significant. Microblog and WeChat have become two types of important media for Shanghai residents to express their opinions and take part in China's "two sessions." Based on the empirical findings, this paper examines Shanghai Residents' cognition, attitudes and expressions towards "two sessions" 2013 and analyzes how new media affect the public opinions on significant political events.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.58-67
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• 2013

The methods used in this study included investigation of media facades used for landmarks in downtown areas in previous studies, visits to these areas, and recording of media facades. The changes in the colors or the size of buildings were analyzed among the recorded cases and 12 of these cases were selected for further study. The sensibility preference of the media facades was evaluated by sorting the 12 kinds of media facades, and providing them as materials to a group of 60 participants (40 undergraduate and 20 graduate students majoring in architecture and design) consisting of an equal proportion of males and females. This study addressed the following four_stage questions: 1) Five questions of recognition evaluation about media facades and the cognitive evaluation items of emotional vocabulary and color preference in each research case; 2) sensibility preference items regarding the media facade color design; and 3) design evaluation items of the media facades; 4) Video clips and still images were recorded from a middle distance at 7p.m to 11p.m. in central New York, Singapore, Seoul, and Beijing. The participants looked at the changes in colors through the video clips in each case and evaluated their preferences through 23 pairs of emotional vocabulary items using system dynamics. Construction of an emotional vocabulary followed, based on previous studies about media facades and color design. To evaluate the sensibility preference and the perceived representative colors of the media facade, this study suggests new emotional responses that depended on the color emotional vocabulary of light in the LED lighting technical evaluation methodology. A media facade with a moving change of colors, unlike a fixed landscape color design, suggests a new communication method based on architectural factors. New architectural color coordination can be presented for urban landscapes at night. Designs that factor in the pedestrians' emotional vocabulary or preference should take precedence over the use of high luminance and various colors.