open access
메뉴
open access
메뉴
ISSN : 2508-3309
This study examines the application of data visualization technology using a clustered data algorithm called 'Tamed Cloud' to virtual spaces and seeks the possibility of implementing it in various types of realistic exhibition contents. To this end, we first attempt to classify virtual reality (VR) exhibition contents starting with COVID-19, and summarize technologies applied. Also, various realistic exhibition contents provide visitors with an opportunity to appreciate the artworks through online and virtual exhibitions. In this trend, virtual reality and augmented reality (AR) technologies have been introduced, allowing visitors to enjoy the artwork more immersively, and the possibility of realistic exhibition content with interaction between the artwork and the user is also being demonstrated. Based on this background, this study examines the history of exhibition contents by dividing them before and after the advent of virtual reality technology, and examines how the clustered algorithm technology called Tamed Cloud was applied to virtual space and implemented as a realistic exhibition content in <70mK> project. By synthesizing all of this, we propose a convergence method of data visualization, virtual reality, and realistic content, and propose it as a new alternative to realistic exhibition content in virtual space.
VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.
This study aims to explore the strategies and effects of SNS images used by four popular male beauty influencers to gain identification with their female fans. The research selected four male beauty influencers, namely Li Jiaqi, Jeffree Star, James Charles, and Bretman Rock, with a high number of subscribers on Instagram, YouTube, and TikTok as of July 21, 2023. By observing the content they posted on SNS, the study analyzed the types, characteristics, and relevance of male beauty influencer images with their female fans using Lacan's gaze theory. Additionally, concepts related to gaze, such as the mirror stage, the screen, and objet petit a, were supplemented to conduct an in-depth analysis of the characteristics of male beauty influencer images and the motivations of female viewers. The study results suggest that male beauty influencers can maintain an intimate relationship, referred to as 'girl-friendship,' with their female fans through the identification formed by the homogeneity within the feminized mirror images. Furthermore, male beauty influencers can transform female viewers from being seen as objects to seeing them as subjects by presenting images that embrace diversity in gender identity, challenging the traditional notions of societal gender norms. Therefore, the images of male beauty influencers not only challenge gender stereotypes but also cater to the demands for independence and equality of modern young women, promote understanding of feminine gaze, and explore the potential for democratization and inclusivity on social media platforms from a new perspective.
This paper analyzes the danmu phenomenon with the concept of participatory culture proposed by Henry Jenkins. Unlike other comments, Danmu is a function that allows users to post anonymously while watching a video, and comments posted at that time are immediately displayed on the screen and can be viewed by other viewers. The service was first launched by Niconico. In this paper, the danmu phenomenon in the Chinese video platform Bilibili is analyzed by focusing on three aspects. First, in terms of creative sharing under collective intelligence, we explore how users create their own creations and share them with other users through danmu. Second, in the collaboration model under public participation, the method and meaning of collective cooperation through users' interaction is dealt with. Third, in terms of financial support of commercial capital, the influence of danmu videos to create commercial profits is analyzed as a case. In addition, the negative aspects and challenges of participatory culture in Bilibili are analyzed. Negative aspects such as participation gap, copyright infringement, excessive use of danmu and problems of anonymity were reviewed, and major challenges to realize the potential of danmu as a participatory culture were suggested. This paper comprehensively analyzes danmu using research methods such as literature review and case studies, and through this, tries to derive insights on how participatory culture and danmu interact and evolve in modern society. Danmu, as a participatory medium, is an important tool that promotes individual and collective creation and interaction, and is pioneering a new boundary between the media industry and its users.
This study aims to investigate the interrelationship between German expressionist dance and grotesque art, with a specific focus on the analysis of Pina Bausch's renowned work, <Café Müller>. German expressionist dance emerged as a response to the social instability and economic downturn that followed World War I, leading to the introduction of expressionism and grotesque aesthetics. The incorporation of grotesque expression in dance plays a critical role in boldly portraying the destruction of the human condition and its underlying causes, thereby offering insights into social contradictions and the erosion of human nature. This research thoroughly explores the intricate connection between German expressionist dance and grotesque expression, providing a comprehensive analysis of Pina Bausch's <Café Müller> to reassess the profound meaning and significance of expressionist dance. Additionally, this study delves into the inherent grotesque tendencies embedded within the work, surpassing conventional notions of visual beauty and ugliness, and strives to reinterpret the essence of grotesque expression through the nuanced movements of the dancers and the integration of auditory elements within the performance.