• Journal of Korea Multimedia Society
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• v.23 no.6
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• pp.784-791
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• 2020

A site-specific performance is a genre and a phenomenon that has recently emerged as a recent paradigm of performing arts: a communality. It involves the performativity of the audience and has various phenomena of contemporary performing art. This study aims to figure out methods of performativity. "Lost Missing and Forgotten," which is a collaboration from Finland and Korea created in 2012 and "Trailer," which is held in Copenhagen Denmark in 2010 by Kitt Johnson. Three principles of performativity which have borrowed as critical tools for this study are role reversal, community building, and contact, which based on "The Aesthetics of Performativity," written by Erika Fischer-Lichte in 2017. The study results show that performativity in the vertical structure and horizontal structure of site-specific performance can act as an environmental factor through the audience's body. Additionally, it turned out that role reversal principle was transformation audience to a creator; community building principle led to an interest in neighbors. Lastly, the contact principle was one of the methods to watch the performance.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.109-118
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• 2022

The main objective of this study is to empirically analyze the relationship among the major variables of viewing motivation, audience satisfaction, and behavioral intention in the esports spectatorship based on the uses and gratification theory. Through the exploratory factor analysis, we have identified major motivation measures of esports. Regression analysis also showed key motivation factors on audience satisfaction and behavioral intention.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.05a
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• pp.132-137
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• 2005

Installation art(I.A.), which has appeared since 1940s against the loss of human nature and hackneyed art caused by materialism, is in pursuit of contact with audience and various artistic experiments. Many features of I.A. - to try contact with audience, to do experiments connecting different genres of art, to regard time and nature as elements of art and to use high technology - could give good ideas for contemporary display(S.W.D.) design. This study is a basic work to suggest new S.W.D. design through artistic principles of I.A.. First, I.A. and S.W.D. design were studied theoretically. Next, spatial expressions were extracted from I.A. and the case study was proceeded to seek the co-relationship of spatial expressions and display design. For a case of Shiseido, it could be evaluated very high because it adapted spatial expressions of I.A. successively. The S.W.D design could be more effective presentation when it has close contact with audience and various experimetal and artistic ways of Installation art.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.5-14
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• 2018

Main purpose of this research is to discuss relationship between digital art works and audience by expansion of Body Schema from Maurice Merleau Ponty's viewpoint, and artistic value of digital art works also became discussed in this research, based on Heidgger's concept called 'Defamiliarization'. We found this 'Defamiliarization' became an important role of digital art works caused by interaction between arts and audience. And we also discussed audience's role as a poet, being-in-between in between the earth and the world, gods and mortals called Heidegger's 'fourfold'. As a conclusion, this unique experience compared to other works is called "A shamanic experience", as an artistic value in interactive digital art works.

• Journal of Digital Convergence
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• v.12 no.11
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• pp.499-504
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• 2014

This experimental research explores the effect of infographic, visual element of TV news, on audience's memory and comprehension. For this experimental research, 2 groups of subjects composed of 87 university students were exposed to two different types of TV news, one group was exposed to news with infographic, the other group was exposed to news without infographic. and questions which were designed to measure recognition memory, recall memory, and comprehension, were asked and analysed. This research found that subjects who watched news with infographic showed higher degree of recall memory and comprehension than those who watched news without infographic. however effect of infographic on audience's recognition memory could not be found.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.336-344
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• 2018

This research proposes a suitable classification and analysis standard for digital exhibition to analyze digital exhibition. Through the previous studies on digital exhibition classification, the necessity of the new standard is suggested and the analysis standard which can be easily applied to the change of concept and form of the newly emerging digital exhibition is established. Digital exhibition should take into account the elements of audience participation that naturally arise from exhibition planning and interactive storytelling format. Classification and analysis of existing digital exhibition spaces are conceptual classification based on keywords. This is because traditional exhibition methodology has been applied in the process of classifying exhibitions and works. However, in digital exhibitions, the interactive aspect between exhibition space, works, and visitors become so important that it is necessary to perform a performative classification between the works and the audience in the digital exhibition. Accordingly, the way of participating directly or indirectly in the exhibition classification should be considered based on what the audience feel. In this research, the interpretation of the classification and composition of the exhibition is based on Benjamin's argument which the classification of the sensory experience of the audience and 'Aktualisierung' closely related to the interaction with the audience. We also present analysis standard for digital exhibition according to the structure of the art exhibition narrative based on the narrative structure of Chatman. This classification methodology will provide the exhibition information in a way that can be easily understood by the visitors and it will be a precedent research that secures the expansion and accessibility of the digital exhibition.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• Korean journal of communication and information
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• v.36
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• pp.78-108
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• 2006

This study examines the digital divide, one of the main issues in digital media environment, in relation with the digital literacy on the perspective of audience welfare. The study explores the current state of audience welfare policy with regard to the issue of digital divide which can be seen as the dark side of this flourishing digital technology society. The barriers and enablers of the digital divide are discussed with the question of how these factors are related with the digital literacy competence of audience. It has been criticized that both the research efforts and the policy implementations on the digital divide had been set within the limitation of physical access to the digital equipment and technology. Recent studies suggested that the digital divide should be viewed in dynamic interaction of a variety of factors such as psychological dispositions, inner attitudes toward digital media, competence and ability of audiences as well as socio-economic status of individuals. Despite the recent inclusive discussion, however, the role of digital literacy in the digital divide remains unexplored. It should be noted that the question of access is not just to do with equipment, but with skills and knowledge that are required to use equipment. This notion suggests an important implication for the digital divide policy establishment. This study proposes a two-stage solution for reducing the digital divide, in which the first stage focuses on physical access and technology education and the second stage on the digital literacy education.

• The Journal of Society for e-Business Studies
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• v.21 no.2
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• pp.1-22
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• 2016

News contents has been collected, selected, edited and sometimes distorted by the news recommendation mechanisms of online portals in nowadays. Prior studies had not confirmed the consensus of newsworthiness, and they had not tried to empirically validate the impacts of newsworthiness on audience reactions. This study challenged to summarize the concepts of newsworthiness and validate the impact of representativeness of both editor's and audience's perspective on audience reactions as perceived news quality, trust on news portal, perceived usefulness, service satisfaction, loyalty, continuous usage intention, and word-of-mouth intention by adopting the representativeness heuristics method and information adoption model. 357 valid data had been collected using a scenario survey method. Subjects in each groups are exposed by 3 news recommendation mechanisms: 1) the time-priority news exposure mechanism (control group), 2) the reference-score-based news recommendation mechanism (a single treatment group), and 3) the major-news-priority exposure mechanism sorting by the reference scores made by peer audiences (the mixed treatment group). Data had been analyzed by the MANOVA and PLS method. MANOVA results indicate that only mixed method of both editor and audience recommendation mechanisms impacts on perceived news quality and trust. PLS results indicate that perceived news quality and trust could significantly affect on the perceived usefulness, service satisfaction, loyalty, continuance usage, and word-of-mouth intention. This study would contributions to empathize the role of information technology in media industry, to conceptualize the news value in the balanced views of both editors and audiences, and to empirically validate the benefits of news recommendation mechanisms in academy. For practice, the results of this study suggest that online news portals would be better to make mixed news recommendation mechanisms to attract audiences.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.13-23
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• 2015

A study on the 'FUN' of TV reality audition programs. "Why are the audience so enthusiastic about the survival audition programs?" "What fun do the audition program audience have?" In order to find the answers for such questions, this study applied 'the 4-step fun evolving model' and thereby, categorized audience's fun-seeking behavioral modes, and therewith, examined how such fun-seeking behavioral modes would change by step over time. As a result, it was found that the audition program audience had faithfully followed the 4 fun types (watching, having, doing and becoming), and that their fun-seeking behavioral modes had changed by step over time in SBS "K-POP START" (Season 3) in 2013. Such findings suggest that the audition program fans accommodated 'the fun evolving model.' Their step of 'watching' evolved gradually into the step of 'having' both on-line and off-line (support of participants/malicious or good-will replies, participation in blogs/twitters, photo materials collection activities) and that of 'doing' (application for the jury group, organization of fan club, crazy fan activities, participation in phone voting, etc.), while increasing their fun.