• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.264-273
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• 2021

To study how digital content can be effectively developed and transformed in a post-COVID world in which the normal operations of museums have been disrupted, this paper analyzes the rapid development and limitations of VR exhibitions and proposes, as an alternative, the development of AR exhibitions. Studying VR/AR exhibitions that ran before and after COVID-19, this paper finds that VR, on the one hand, translates physical objects into digital video, which lacks aesthetic depth, and encounters operational problems originated by devices. By using mobile devices that are widely distributed and convenient to use, AR exhibitions can, on the other hand, be divided into three types: "museum-specific exhibitions" can present digital content in a specific indoor space, while "place-specific exhibitions" can be used in open outdoor spaces. The "non-place-specific exhibitions", can, as third type, combine digital content with printed material sent by postal mail. Among these three types, the specific/unspecified place type shows the highest "uncontact effect," which can suggest the best direction for effective museum content development in the pandemic era.

• International Journal of Contents
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• v.16 no.4
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• pp.68-77
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• 2020

VR (Virtual Reality) contents make the audience perceive virtual space as real through the virtual Z axis which creates a space that could not be created in 2D due to the space between the eyes of the audience. This visual change has led to the need for technological changes to sound and sound sources inserted into VR contents. However, studies to increase immersion in VR contents are still more focused on scientific and visual fields. This is because composing and producing VR sounds require professional views in two areas: sound-based engineering and computer-based interactive sound engineering. Sound-based engineering is difficult to reflect changes in user interaction or time and space by directing the sound effects, script sound, and background music according to the storyboard organized by the director. However, it has the advantage of producing the sound effects, script sound, and background music in one track and not having to go through the coding phase. Computer-based interactive sound engineering, on the other hand, is produced in different files, including the sound effects, script sound, and background music. It can increase immersion by reflecting user interaction or time and space, but it can also suffer from noise cancelling and sound collisions. Therefore in this study, the following methods were devised and utilized to produce sound for VR contents called "A Midsummer Night" so as to take advantage of each sound-making technology. First, the storyboard is analyzed according to the user's interaction. It is to analyze sound effects, script sound, and background music which is required according to user interaction. Second, the sounds are classified and analyzed as 'simultaneous sound' and 'individual sound'. Thirdly, work on interaction coding for sound effects, script sound, and background music that were produced from the simultaneous sound and individual time sound categories is done. Then, the contents are completed by applying the sound to the video. By going through the process, sound quality inhibitors such as noise cancelling can be removed while allowing sound production that fits to user interaction and time and space.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.297-302
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• 2022

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer.

• Journal of Convergence for Information Technology
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• v.12 no.4
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• pp.278-285
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• 2022

This study presence in VR advertising into three types presence. Further, through an experiment, the study empirically verifies the kind of recalled information depending on the flow which forms users' attitudes towards the content. The experiment was conducted with a factor design between 3X2 subjects. Hyundai Motor's Ioniq VR video was conducted, and a questionnaire of 143 subjects was used for the study. The results revealed that positive attitudes were formed towards the advertisement used in the experiment when the level of emotional presence was the highest. In addition, higher flow levels established positive attitudes towards the advertisement. and Cognitive presence's effects on memory, ARM such as product-attribute information was found to increase when the flow level is high; however, GRM such as overall product evaluation was found to increase when the flow level is low.

• Journal of KIBIM
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• v.12 no.4
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• pp.80-92
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• 2022

Recently, remote work has arisen due to the social atmosphere and advancement of digital technology. Although effective in premeditated communications such as conferences or meetings, the current technology such as messengers and video chats insufficiently supports impromptu communications like a chance encounter, daily conversation with colleagues, or brief instant meetings. This causes various problems such as a decrease in social belonging and an increase in social isolation. The virtual workplace, which emerged as an alternative to this technology, is merely replicating the workplace layouts in reality with an absence of the proper design guideline. Therefore, this paper aims to establish the foundation for the better design of the virtual workplace for remote-work employees. The research compared 12 current workplace cases with the analysis with 5 categories(Spatial Composition, Scale, Individual & Collaboration Workplace, Socializing Space), and discovered the following results: 1) some design principles of the real workplace can be applied on the virtual workplace design, 2) the architectural components of the virtual workplace can differ from them of the real. Based on the results, the research suggests both the appropriate design methodologies of the virtual workplace considering the design principles of the real office layouts, and the design direction for the future of the virtual workplace. This research will be the foundation for the future design of the virtual workplace.

• Journal of the Korean Society of Earth Science Education
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• v.15 no.2
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• pp.171-191
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• 2022

The purpose of this study is to explore inductively learning effects of virtual field trips(VFTs) programs developed by elementary school students under the theme of minerals and rocks, focusing on learning in virtual geological components. Ten students attending 'H' elementary school in the metropolitan area voluntarily participated. In order to develop a virtual field trips programs, pre-actual outdoor geological field trips were conducted and virtual field trips programs were developed. In this process, written data of students observing, all video recording and voice recording materials of the course in which students participated, VR development data, and post-interview data were collected. Data were inductively analyzed focusing on four areas(cognitive, psychological, geography, and technical components) of learning in virtual geological field trips. As a result, there were positive learning effects for students in four areas. This study revealed that the study participants were not just participants in virtual learning, but rather developed classes for virtual field trips programs, which had significant results in terms of authentic inquiry.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.71-82
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• 2019

Today's media environment is becoming very complicated and the trend of media convergence is getting clearer. The convergence of media is the supreme hot issue. In this wave of convergence, there has also been a huge change between movies and electronic games. The remake boom between them showed a tremendous economic effect that can be achieved by exchanging two media of essentially different characteristics. As computer virtual reality technologies evolve, electronic games will provide a virtual world that can satisfy the demands of the visual, auditory, and tactile aspects very real to the public with the Internet. At that time, movies and other media will be thoroughly melted into the virtual world created by electronic games, and they will become an element of the virtual world as those media that exist in the truth world.

• Physical Therapy Rehabilitation Science
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• v.13 no.2
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• pp.187-195
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• 2024

Objective: Physical activity can promote physical and mental well-being. University students are more sedentary recently due to the increased use of computers and other technology. The aim of this study was to investigate differences between immersive 360-degree virtual cycling (IVC) and virtual cycling with head-mounted display (VCHMD) on aerobic capacity and usability in young adults. Design: A crossover study. Methods: Twenty-five university students (13 male, 12 female) participated in this study and completed 2 separate 30 min cycling sessions, such as IVC and VCHMD. In the IVC, participants rode on a stationary cycle while watching curved TV where recorded video was played. To enhance the sense of realism, auditory stimulation was given to the headset, and the gyroscope sensor was used to track the screen as the head moved. In the VCHMD, participants rode on the stationary cycle with head-mounted display, and other conditions were the same as IVC. Participants were assessed the aerobic capacity which included gas analyzer and portable near-infrared spectroscopy, and usability which included simulator sickness questionnaire and system usability scale. Results: Aerobic capacity was significantly difference in the IVC compared with the VCHMD except for the total hemoglobin of right and left rectus femoris and muslce oxygen saturation of left rectus femoris (p<0.05). Cybersickness was less in the IVC than VCHMD and usability was high in the IVC than VCHMD (p<0.05). Conclusions: The findings suggested that IVC might be beneficial exericse to improve aerobic capacity and has lower cybersickness and higher usability than VCHMD.

• The Journal of Korean society of community based occupational therapy
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• v.4 no.1
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• pp.59-73
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• 2014

Objective : The purpose of this study is to understand Lived Experience of Suffering for family of victim with Sewol-ho ferry accident and to suggest the necessity of mental health occupational therapy regarding of psychological trauma of family of victim. Methods : This study was applied with Parse's Human becoming research method to recognize experience pain for 5 objects losing family with with Sewol-ho ferry accident. According to Parse's research mothod, secondary data, documentary video about experience pain of family of victim with Sewol-ho ferry accident was selected and analyzed. Results : Three core concept for lived experience of suffering of family with victim with Sewol-ho ferry accident as below statements. 1. Despair and sadness losing family, 2. Impotent feeling and guilty conscience breaking down daily life, 3. Seeking relief from suffering for remaining family. Although there were extreme impotent feeling of losing family with Sewol-ho ferry accident, structural conversion presented as process with denial reality which do not want to accept a death in the family and standing for remaining family. The conceptual integration was expressed to powering from valuing and languaging to connection-separation, revealing-concealingl. Conclusion : Family of victim with Sewol-ho ferry accident is losing meaning of life the goal of life with impotent feeling, despair and depression. It is urgently needed for mental health occupational therapy program to restore disruptive everyday activity and participation in community by developing occupational therapy program through meaningful occupation to family of victim.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.