As a contemporary, postmodern marketing strategy, digital storytelling is the virtual means by which a story can be organized. Less traditional than a conventional beginning, middle, and end narrative, the genre suggests that individuals connect the dots of a story by comparing their reading with others. This research examines Christian Dior’s Secret Garden IV campaign film as it is broadcasted on YouTube for six weeks and diffused through Instagram. Through a grounded theory approach we measure and analyze audience engagement and key themes expressed through user-generated content on YouTube and Instagram. Manual coding and three computer-aided text analysis programs are used to analyze the data and triangulate results. This research contributes to the literature on consumer engagement in digital storytelling, online brand communities, and celebrity endorsement. Introduction Digital technologies have improved the aesthetics of content creation, enabling brands to develop deeper levels of engagement with consumers through social channels (Merrilees, 2016). Every day hundreds of millions of hours of video are consumed on YouTube and the number of high performing channels has been increasing by 50% per year (YouTube, 2017). Instagram’s monthly active users have grown from 300 million in December 2014 to 600 million in December 2016 (Statista, 2017). Within the social media sphere, commercial and individual users connect through multiple platforms and devices to share ideas and information without the constraint of time and space (Gruzd & Wellman, 2014). The digitization of visual culture provides users with so much content that it may even result in information overload (Babin et al., 2017). This research focuses on the fashion sector and social media platforms that cater specifically to visual imagery and video content. The logic is twofold: the fashion industry is inherently visual and research on a study of eighty-three fashion brands indicates a shift from traditional advertising to video products, especially on social media (L2 Inc., 2016). We examine elements of French luxury goods company, Christian Dior’s Secret Garden omni-channel marketing campaign. As a collection of short films shown on YouTube and in other media, the campaign had four annual installments beginning in 2012. The Secret Garden series explores the brand’s past and present within the context of the 21st century Palace of Versailles. Our focus is on Secret Garden IV, launched in May 2015, featuring singer/songwriter Rihanna as the protagonist. Dior’s portrayal of Versailles throughout the Secret Garden series reflects undertones of its monarchial heritage and its high fashion prestige. In Secret Garden IV, there is a juxtaposition to this theme when Rihanna’s subculture persona and celebrity status (Fleetwood, 2012) presents a misalignment between luxury ideals and Rihanna’s position in popular culture. Table 1 provides an overview of the history of the campaign. This research measures and analyzes audience engagement and key themes expressed through users’ comments on YouTube and Instagram for the pre-launch and launch of the Secret Garden IV campaign. Through a grounded theory approach we identify, analyze, and validate keywords and group them into themes utilizing both manual coding and computer-aided text analysis (Lai & To, 2015). We utilize three software programs (Tableau, NVivo 11, and Leximancer) to triangulate results. The scholarly literature on fashion luxury goods is scant and this methodological approach is sound (Neuendorf, 2017). Five recent scholarly articles on luxury fashion goods and social media were identified. One relates to storytelling and is visually-focused (Megehee & Spake, 2012); three develop models (Kim & Ko, 2010; Kim & Ko, 2012; Brogi et al., 2013); and one uses the case study approach (Phan et al., 2011). This research fills both a theoretical and a methodological gap. We examine a digital storytelling campaign across social media platforms with the prospect of new theoretical insights. According to Snelson (2016) there is scant social media research on YouTube and Instagram and social media research using a grounded theory approach is also limited. Theoretical background Digital Storytelling Digital storytelling uses technology as an extension of oral and written stories “…to solidify our cultures and share knowledge for the future” (Irwin, 2014, p. 40), placing engagement with digital media as an extension of the self. People naturally think in narratives and stories, rather than arguments and paradigms (Megehee & Spake, 2012) and may use digital storytelling to order otherwise disconnected experiences into interrelated, meaningful episodes (Vannini, 2012). By connecting the dots of a story on social media users have the opportunity to formulate meanings of their own and build interpretations by comparing their “reading” with that of others. Social media has empowered the consumer by enabling communication that is multi-way, multi-directional, and led by the consumer (Tuten & Solomon, 2015). The fashion film on the internet has been viewed as “a genre that is not is not simply a tool to stimulate consumption, but is something that is set to change our notion of fashion as a moment in time” (Khan, 2012, p. 236). In her review, “100 Years of the Fashion Film,” Marketa Uhlirova posits that contemporary technologies aimed at a film’s “potential to promote fashion” turned into “the medium’s ability to recast consumption as seductive visual entertainment,” devaluing a fashion film’s potential for not only entertainment and visual pleasure, but also for experimentation and innovation (Uhlirova, 2013, p. 140; p. 153). Online Brand Communities As a hub of value creation in the consumer marketplace, brand communities are an enthusiastic, passionate group of customers who express similar commitment towards a brand or product and may not be geographically bound (Muniz Jr. & O’Guinn, 2001; McAlexander et al., 2002). In brand communities created by marketers, organizations may stimulate engagement, brand loyalty and the expression of positive emotions and trust (Bagozzi & Dholakia, 2006; Jung et al., 2014). Customer engagement behaviour pertains to a variety of online and offline behaviours (e.g. word of mouth, blogging, customer reviews) that are not transactional, but can be measured (Verhoef et al., 2010). Although positive word of mouth and brand advocacy are not guaranteed, an organization’s most engaged social customers have the potential to communicate messages that are perceived as more credible than those generated by the organization (Kozinets et al., 2010). A high level of engagement may be described as delight or joy. Engagement requires strong emotional and relational bonds (commitment and trust), and may transform customers into loyal “fans” or co-creators of value (Hawkins & Davis, 2012). A study of customer engagement behaviour in a social media environment is complex because engagement behaviour in different channels may vary considerably, with a different effect on value creation or purchase intent. For example, if a customer tweets on a mobile device his/her engagement and purchase intent may differ from engagement and purchase intent as a result of interaction with a video or blog (Libai et al., 2010). Celebrity Endorsement A celebrity endorsement is defined as “an agreement between an individual who enjoys public recognition (a celebrity) and an entity (e.g., a brand) to use the celebrity for the purpose of promoting the entity” (Bergkvist & Zhou, 2016). Celebrity endorsements previously were associated primarily with consumer goods and services advertised through traditional media, such as print and television. More recently, these endorsements encompass any mode of communication as well as business-to-business goods and services. This update is significant considering the addition of advertising on the Internet, in social media, “stealth marketing” on TV talk shows (Kaikati & Kaikati, 2004) and red carpet appearances (Carroll, 2009). Theories related to celebrity persuasion that have application to the fashion industry have examined the way consumers process information from marketing communications and relate it to their self-concept (Carroll, 2009). To the consumer, the celebrity represents a meaning, based on the recognition s/he has received in the symbolic environment and his/her persona. This meaning is transferred to the product when the celebrity is seen in the marketing communication. In the final stage, the meaning moves from the product to the consumer, who transfers the meaning into his/her notion of the self-concept (Carroll, 2009). This transference effect benefits the brand (Tuten & Solomon, 2015) and the consumer who may use products to reveal their self-concept to others (Babin, et al., 2017), especially in high involvement consumption situations (Ahuvia, 2005). Method Sample Instagram and YouTube data were collected using Netlytic (Gruzd, 2016) for the period May 14 – June 24, 2015 for the purpose of capturing data before and after the official release of the film (May 18, 2015). A total of 8,986 records (uncleansed) are in the Instagram (#SecretGarden4 and @Dior) database and 426 records (uncleansed) in the YouTube database. Multiple URLs were used for YouTube because there were four previews, and short and long versions of the film. Procedures The data was cleansed (236 YouTube posts; 6,763 Instagram posts). To measure sentiment and engagement, a text analysis was performed using an adaptation of Dann’s Twitter (2010) classification. Through a grounded theory approach (Lai & To, 2015) key words, concepts and themes were identified and triangulated using Tableau, NVivo 11, and Leximancer software programs. Concluding Remarks As a multi-year campaign, Dior’s Secret Garden was meticulously crafted to project an understanding of Dior’s brand image and to create an air of anticipation for consumers. Within the context of digital storytelling we delve deeply into how the last installment of this campaign resonated with consumers who watched the film on social media and responded to Dior’s Instagram initiatives. Through our mixed methods research approach, we develop theoretical and methodological contributions that benefit academics and fashion marketers.

The virtual reality market is already creating new added value across the industry and it is expected to change the way we live and work. Currently, virtual reality marketing is actively applied to the game industry and marketing methods are diversifying. Moreover, this marketing it will be widely applied in various fields such as medical care, defense, and entertainment in the future. In this paper, we analyze the marketing strategy of virtual reality industry which is expected to grow in the future combined with existing 4P analysis and 4C analysis.

OBJECTIVES : Visibility at night can be improved by using retroreflection for short distances and phosphorescent line markings for long distances. In this study, we analyzed the characteristics of the phosphorescent line marking through a laboratory luminance test. Field performance analysis was performed through tests conducted on the road. We also examined the luminance measurement methods using the digital image obtained during the phosphorescent visibility evaluation. METHODS : In this study, the laboratory luminance test of the phosphorescent line marking was conducted using seven specimens to characterize the luminance changes according to the type of the glass beads, the thickness of the phosphorescent line marking, and the brightness and irradiation time of the light source. Phosphorescent and general line markings were made at 150 m to investigate the field luminance performance. A preliminary review of the luminance measurement methods was made using a digital image from a digital singlelens reflex (DSLR) camera. The measured luminance ratio of the general and the phosphorescent line markings was compared with the calculated luminance ratio using luminance analysis. RESULTS: Through the laboratory luminance test, it was seen that the change in luminance, which corresponds to the brightness of the light source, appears large but the influence of the thickness and irradiation time is low. The field performance test of the phosphorescent line marking conducted on the road involved measuring the luminance on the day the marking was made and 7 days after the marking was made. The luminance was found to be 190 mcd/m2 at 30 min after sunset and approximately 10-12 mcd/m2 4h after sunset. The results of the luminance test were captured using a digital image for each time group. The luminance ratio of the phosphorescent line marking, when compared to that of the general line marking, showed a similar trend within a 13% maximum error. Additionally, when this luminance ratio is compared to the direct field measurement, it could be confirmed that the luminance ratio, as captured in the digital image, showed a similar tendency. CONCLUSIONS : 1) The change in luminance corresponding to the brightness of the light source is significant in comparison with that corresponding to the thickness and the irradiation time. In addition, the results of the field test for the phosphorescent line marking satisfied the phosphorescent fire protection standard. 2) We examined the validity of the luminance measurement method using a digital image and we concluded that the change in the luminance ratio shows a similar tendency in both the cases. The results can form the basis for luminance measurement methodology for the construction and maintenance of phosphorescent line markings.

PURPOSES : The objective of this study was to evaluate the results of the dynamic immersion test (DIT) through digital image analysis (DIA). METHODS : The asphalt binder retained post DIT was inspected visually by more than three investigators. However, because visual observations can be subjective, depending on the inspector’s skills and knowledge, DIA was also performed. The threshold value for the DIA was determined by a mesh analysis, in which the digital image to be analyzed is divided into very small meshes. In addition, the bitumen bond strength (BBS) test was also performed to the compare the visual results with the mechanical values. RESULTS AND CONCLUSIONS : Depending on the materials used, various methods can be used to predict the behavior of retained asphalt. However, the increasing ratio in the trend of retained asphalt shows different behaviors among the evaluation methods. In this study, the results of the visual observations were significantly different from those of the DIA, the mesh analysis, and the BBS tests. Thus, DIA is an appropriate method for evaluating the results of the DIT. However, in order to use this technique in the field, it is necessary to determine a more reasonable threshold value by performing DIA on various materials.

현재 아스팔트 포장 분야는 최근의 이상기후(집중호우 및 폭설)로 인하여 수분으로 인한 파손(점착력 약화로 인한 박리 및 포트홀)이 증가하고 있는 실정이다. 이에 국토교통부에서는 『아스팔트 혼합물 생산 및 시공 지침(2014)』의 재료 선정 과정에서 동적수침 시험을 통하여 피복잔류율이 50% 미만이면 박리방 지 재료를 사용토록 규정하고 있다. EN 12697-11에 규정되어있는 동적수침 시험은 골재와 아스팔트 사 이의 박리 저항성 평가하고 이 결과를 통해 아스팔트 혼합물의 수분 저항성을 평가하는 시험법으로, 피복 잔류율 평가는 검사자의 주관적인 육안 평가를 통해 이루어지기 때문에 시험결과의 객관성 및 신뢰성이 부족하다고 할 수 있다. 본 연구에서는 동적수침시험의 객관성 및 신뢰성 향상을 위하여, Digital Image Analysis(DIA)를 도입하였으며, Mesh Analysis를 통하여 DIA의 기준값을 선정하였다. Mesh Analysis 를 위하여 시험 후 건조된 시료를 동일한 조건에서 스캔하여 총 400(20×20) 개의 mesh로 나누어 각 셀 에 대한 피복율을 육안조사를 통하여 총 5 단계의 가중치를 적용하여 계산하였다. DIA는 이미지 파일을 화소(Pixel) 값을 기반으로 처리하는 기법으로, Mesh Analysis에 이용된 25비트 컬러 이미지 파일을 그 레이 이미지(화소값 0(검정색)~255(흰색))로 변환한 후 기준값을 바탕으로 변환된 흑백의 이미지를 이용 하여 피복율을 계산하는 분석방법이다. 보다 객관적인 피복율 비교를 위하여 BBS 시험을 수행하여 얻어 진 점착력을 피복율과 비교하였다. Fig. 1(a)는 피복율과 점착력의 비교결과, Fig. 1(b)는 AP-3를 기준으 로 계산된 피복율과 점착력의 재료에 따른 변동비율 결과를 보여준다. Fig. 1에서 육안평가 결과의 경향은 다른 평가방법과 다른 경향을 나타냈으며 즉, 육안평가는 시료 종 류에 따른 피복율 경향 파악에는 적합한 방법이 될 수는 있으나, 객관적인 피복율 평가에는 미흡한 것으 로 판단된다. 반면에 DIA는 Mesh Analysis 및 BBS 결과와 비교적 유사한 경향을 보였으며, 동적수침시 험의 피복율 평가에 DIA를 적용하는 것은 결과의 신뢰성 및 객관성 측면에서 도움이 될 수 있을 것으로 판단된다.

최근 기후변화로 인한 집중호우의 강도와 빈도가 증가하면서 아스팔트 포장의 포트홀 발생이 급격히 증가하고 있다. 포트홀은 아스팔트 포장에 침투된 수분이 교통하중과 함께 간극수압을 야기하여 아스팔트 포장의 골재 표면과 아스팔트 바인더 사이의 점착력을 약화시켜 박리가 발생하여 포장이 파손되는 것을 말한다. 이로 인해 아스팔트 포장체의 조기 파손이 발생하게 되면 아스팔트 포장의 공용성을 감소시키고 유지·보수비용을 증가시키므로 사용재료에 대한 점착력 특성을 파악하는 작업이 반드시 필요하다. 본 연 구에서는 아스팔트 포장시공에 많이 사용되는 3가지 종류의 아스팔트 바인더(PG58-22, PG64-22, PG76-22)를 선정해서 동적수침시험(Dynamic Immersion Test)과 바인더 점착력 시험(Bitumen Bond Strength, BBS Test)을 수행하여 각 아스팔트 바인더의 점착력을 평가하였다. 동적수침시험은 EN 12697-11 기준에 의해 수행되었으며, 주관적인 결과분석방법(육안평가)의 개선을 위해 DIA(Digital Image Analysis)를 통해 객관적인 평가를 수행하였다. 각 시편은 기존에 적용되던 육안조사와 무게변화 의 방법을 수행하는 동시에 객관적인 평가를 위해 Mesh Analysis 방법을 적용하였다. 각 시편을 동일한 조건에서 스캔하여 얻어진 이미지 파일을 총 400(20×20)개의 mesh로 나뉘어 각 cell에 대한 피복율을 5 단계의 가중치를 적용하여 계산하였다(Equation 1). Mesh Analysis의 결과를 적용하여 얻어진 기준값 (Threshold Value) 36을 기준으로 DIA를 수행하여 최종 점착력을 비교 ․ 분석하였다. Fig. 1은 동적수침 시험과 BBS Test로 얻어지는 수분민감성과 상온에서의 점착력결과를 나타낸 것이다. 본 연구에서는 DIT의 각 평가 방법을 비교하였고, 그 결과를 BBS 시험과 비교하여 아스팔트 바인더의 점착력을 평가하였으며, 도출된 결론은 다음과 같다. 기존의 DIT 육안평가 방법은 평가자 간의 차이가 크 기 때문에 주관적인 결과를 도출할 가능성이 있으며, DIA를 이용하여 보다 객관적인 평가를 수행할 수 있 을 것으로 판단된다. BBS 시험결과 PG등급이 높을수록 상온에서의 점착력이 좋다는 것을 확인할 수 있 었고, DIT 시험결과 또한 동일한 경향을 보이는 것으로 나타났다.

오늘날 문화콘텐츠를 활용한 많은 문화산업의 부가가치 창출 사례를 볼 때 문화콘텐츠와 디지털 스토리텔링의 중 요성은 높아지고 있다. 우리나라의 문화콘텐츠에 대한 OSMU의 가능성을 높이기 위해서는 OSMU가 잘 이루어지고 있 는 다른 나라의 사례 분석을 통해 적절한 활용 방안을 마련해야 한다. 본 논문에서는 게임의 세계관에 많이 활용되는 북유럽 신화와 신화를 반영한 컴퓨터게임 ‘RING'의 분석을 통해 우리나라 문화콘텐츠의 발전가능성을 모색해보고자 한다.

이미지의 재현은 미디어의 스키마(schema)를 통한 현실의 재편집된 형태의 전달 또는 환영의 생산이었다. 미디어의 초기 매체인 사진 이미지는 실재를 증거로 하기 위한 주요 특성으로부터 출발하였고 그러한 특성이 사실이든 아니든 그것은 사진 이미지가 가지고 있는 사실이라는 유사성에 기여하는 힘을 제공하였다. 미디어 환경 변화 이후, 웹을 기반으로 하는 소통구조는 이미지를 소통의 언어로 세상을 ‘보는’방식과 ‘보여주는’ 방식에 대해 적극적인 자아-제시적 콘텐츠로 디지털 이전의 시각체계(재현과 소통구조 안에서 대상을 어떻게 볼 것인가(Ways of seeing)?)에서 드러났던 대상성의 재현 방식과는 다른 그들의 풍부하고 재미있는 실체의 시각적 환영을 미디어 놀이 문화에서 재현하고 있다.

현재의 도로설계기준은 안전주행을 위한 최소한의 요건만을 제시하고 있기 때문에 이 설계기준에 따라 건설된 도로는 운전자가 주행 중 기대하는 구조 및 환경을 충분히 반영하였다고 보기 어렵다. 따라서 한국건설기술연구원에서는 포로의 안전성을 평가하고 주행안전성을 제고하기 위해 도로안전성 조사분석차량을 개발하고 있다. 본 논문에서는 이 차량에 탑재된 다양한 자료수집 장비 중 일정거리간격으로 디지털 영상을 취득하는 영상취득시스템에 중점을 두고 기술하였다. 영상취득시스템은 도로 및 주변시설물을 운전자의 시점에서 촬영하는 전방카메라와 차선추출을 위해 차량의 좌우에서 도로면을 촬영하는 측하방카메라, 일정거리간격으로 영상촬영 신호를 발생하는 동기화장치로 이루어져 있다. 각 영상은 위치정보와 함께 저장되므로 전방영상은 길어깨 폭 측정 등의 기하구조 계산에 사용되고. 측하방영상은 도로의 선형을 대표하는 중앙차선을 추출하는데 유용하게 사용될 수 있을 것으로 판단된다.

이 연구에서는 디지털 이미지 분석법을 활용하여 북동태평양 ODP Leg 204 시추 코아 시료에서 산출된 부유성 유공충 Neogloboquadrina pachyderma 권각의 감긴 방향을 컴퓨터 프로그래밍으로 결정하였다. 이것은 유공충 군집 이미지에서 N. pachyderma 개체를 자동 인식하게 한 것이며, N. pachyderma 권각 방향을 컴퓨터 프로그래밍으로 결정할 수 있도록 고안한 것이다. 이 알고리즘을 이용한 새로운 판독 방법을 사용한 결과 유공충 시료에 대한 정량 분석이 빠르게 수행될 수 있게 되었으며, 실제현미경을 통한 관찰 결과와 비교하였을 때 약 90% 만큼 높게 일치하였다. 이 수치는 컴퓨터를 이용한 디지털 이미지 분석이 미고생물학 분야에 성공적으로 적용될 수 있다는 점을 시사하고 있다.

도시의 환경문제가 인구와 시설의 증가에 의해서 점점 더 심각해짐에 따라 도시내 산림을 도시에서 가장 중요한 부분으로 인식하고 있다. 따라서 본 연구에서는 대전지역에서 도시내 또는 도시외곽에 위치한 산림을 합리적으로 관리하고 이용하기 위한 기본적 분석 단계로서 산림지역의 지형환경을 Landsat - 5 TM데이타와 수치지형자료를 이용하여 분석하였다. Landsat - 5 TM의 영상자료로부터 산림지역을 추출하였고, 수치지형자료를 이용하여 표고, 경사도, 주경사향의 분포를 분석하였다. 영상자료로부터 추출한 산림지역에서 특히 보문산, 봉산, 갑하산, 식장산과 계족산의 5개 지역을 대상으로 지형환경 분석이 이루어졌다. 대전지역에서 산림지역이 차지하는 면적비율은 55.1%로 도심지역보다 약 5배 많은 며적이다. 전체 산림지역의 표고 분포는 200m 이하가 70.8%이고, 400m 이상은 4.8%이다. 5개 지역에서 계족산은 100~200m 지역의 전체의 45.7%, 보문산은 300m 이하 지역이 92.4%이다. 갑하산과 식장산에서 300m 이상되는 지역은 각각 20.4%와 46.6%이다. 도시내에 위치하고 있는 봉산을 제외하고 모든 지역에서 50% 이상이 경사 20˚ 이상의 급경사지로 구성되어 있다. 특히 식장산에서는 30˚ 이상의 절험지가 35.2%나 분포하고 있다. 식장산과 갑하산은 보문산, 계족산보다 고도, 경사도 변화가 심한 것으로 나타났다.

오대산 국립공원지역의 지형을 파악하기 위하여 1:50.000 지형도를 입력하여 100×100m 격자의 수치고도모델을 구축하였다. 오대산 국립공원 전체의 55%가 900m 이상인 고지로 되어 있고. 비로봉 자연보전지역은 90%가, l,100m 이상인 고산지역이다. 경사 20˚이상인 지역이 70% 정도로 험준한 산악지역이며, 경사향은 주로 동향과 서향으로 나타나고 있다.

Modal Analysis is the process of characterizing the dynamic properties of an elastic structure by identifying its modes of vibration. A mode of vibration is a global property of an elastic structure. That is, a mode has a specific natural frequency and damping factor which can be identified from response data at practically any point on a structure, and it has a characteristic mode shape which identifies the mode spatially over the entire structure. Modal testing is able to be performed on structural and mechanical structure in an effort to learn more about their elastic behavior. Once the dynamic properties of a structure are known its behavior can be predicted and therefore controlled or corrected. Resonant frequencies, damping factors and mode shape data can be used directly by a mechanical designer to pin point weak spots in a structure design, or this data can also be used to confirm or synthesize equations of motion for the elastic structure. These differential equations can be used to simulate structural response to know input forces and to examine the effects of pertubations in the distributed mass, stiffness and damping properties of the structure in more detail. In this paper the measurement of transfer functions in digital form, and the application of digital parameter identification techniques to identify modal parameters from the measured transfer function data are discussed. It is first shown that the transfer matrix, which is a complete dynamic model of an elastic plate structure can be written in terms of the structural modes of vibration. This special mathematical form allows one to identify the complete dynamics of the structure from a much reduced set of test data, and is the essence of the modal approach to identifying the dynamics of a structure. Finally, the application of transfer function models and identification techniques for obtaining modal parameters from the transfer function data are discussed. Characteristics on vibration response of elastic plate structure obtained from the dynamic analysis by Finite Element Method are compared with results of modal analysis.

In order to improve the social service level of museums, digital media and artificial intelligence have become common application technologies in the field of Museum exhibition. The functional orientation of museums is constantly adjusted with the changes of technological development trend, cultural trend and lifestyle in modern society. The development of mobile Internet and intelligent technology has profoundly subverted people’s way of life. Digital exhibition is rising in line with people’s living habits of obtaining information and social communication. However, from the perspective of the relationship between digital exhibition and audience, there are obvious deficiencies in the research field of digital exhibition activities in the field of functional orientation and meaning innovation. Therefore, this paper attempts to explore the function, narrative and meaning of digital exhibition from the perspective of the audience with the concept of “post Museum” and through the analysis of classic cases in the field of digital exhibition. The purpose of this study is to analyze the function and meaning of digital exhibition from the perspective of the audience, clarify the path of the future development of the museum, and explore the narrative structure of exhibition language in the digital context. The research results will provide new theoretical support and design strategies for future museum exhibition design.

The purpose of this study is to analyze the level of science and technology development and digital readiness of scientific research institutes based on the author’s assessment methodology (a set of evaluations and multifactorial indicators). Keeping with the previous literature, the research is caused by the novelty of the problem, which suggests dividing the literature review into two main research groups: theoretical background, which concentrates on the digital readiness definition, and the impact of digital readiness on science. Moreover, the scientific significance lies in the fact that proposed ideas in the research, developed theoretical and methodological provisions can significantly enrich theories related to the identification of the digital readiness of science and its consumers. Further, the research is devoted to the development of assessment methods of digital changes and analysis of the level of development of digital readiness of scientific research institutes, which is based on the author’s assessment methodology (a set of evaluations and multifactorial indicators). The methodology provides an opportunity to build ratings of the digital readiness of scientific-research institutes to the formation and development of a digital economy. Obtained results show that the priority task in the current and the future period is to increase the authority and recognition of scientific organizations, the quality of scientific research, and the formation of demand for scientific products.

This study aims to analyze the changes in purchasing decisions in conducting transactions using cash and digital payment systems. Cash payment systems are very different from digital payments because they no longer use banks as intermediaries for transactions. The scope of this study is to determine the differences that take place with purchasing decisions using digital payment systems with OVO Indonesia smart applications. By using the paired T-test sample test method and testing the regression class assumptions, it is expected we will document the comparison between cash and digital payment systems as regards changes in consumers’ buying interest behavior towards goods. Data is obtained by purposive sampling using special characteristics for smart application users. The results show that digital payments are developing very quickly, but cash payments still dominate due to the unavailability of complete facilities and infrastructure to support digital payment systems other than in cities. This study illustrates that digital payments have not been able to completely change consumer buying behavior in large numbers, but the main finding in this study is an increase in the percentage of digital payment usage to the online market, due to the many conveniences provided in OVO smart applications.