MCN 스포츠 중계의 미디어 인게이지먼트, 미디어 공감, 그리고 미디어 가치와의 관계를 규명 하기 위한 이 연구는 MCN 스포츠 중계 시청 경험을 가진 시청자 총 324명을 대상으로 비확률 표본 표집 중에서 목적 표집법을 통해 설문조사를 실시하였다. 탐색적 요인분석을 실시하여 타당도를 확인하였으며, Cronbach's α 검사를 실시하여 신뢰도를 조사하였다. 또한 상관관계분석을 실시하여 판별타당도를 검증 하였으며, 연구가설을 검증하기 위해 선형 회귀분석을 실시하여 다음과 같은 결론을 도출하였다. 첫째, MCN 스포츠방송과 관련하여 미디어 인게이지먼트가 미디어 가치에 긍정적인 영향을 미치는 것으로 나타 났다. 둘째, 미디어 인게이지먼트가 미디어 공감에 긍정적인 영향을 미치는 것으로 나타났다. 셋째, 미디어 공감이 미디어 가치에 긍정적인 영향을 미치는 것으로 나타났다.

디지털 미디어 기술의 부단한 발전에 따라 뉴미디어 예술은 당대 예술 디자인 업계에 새로운 발전 기회를 가 져왔습니다.대학 캠퍼스 시청각 경관은 캠퍼스 경관 구성 시스템의 중요한 부분으로 캠퍼스 전체의 환경 쾌적 도를 높이고 환경 교육 효과를 촉진하는 등 대체 불가한 역할을 하고 있습니다.뉴미디어아트 속 다차원 디지 털 예술은 전통적인 예술 디자인 형태에 비해 색다른 미적 감각과 시각적 경험을 선사합니다.대학 캠퍼스 조 경 디자인은 대학 캠퍼스 전반의 외적인 환경 표현으로, 사제(師弟)의 대학 첫인상을 그대로 반영하고 있습니 다.현대 과학기술의 급속한 발전으로 뉴미디어아트의 표현 형식은 더욱 다채로워지고 새로운 표현방식이 끊임 없이 생겨나고 있습니다.본고에서는 뉴미디어아트의 응용탐구부터 시작하여 새로운 시대의 캠퍼스 영상음향 경관설계의 수요와 결합하여 뉴미디어아트의 캠퍼스 영상음향(Video and Audio) 경관설계에서의 혁신과 응용 을 탐구합니다.

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 god-like 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 Rancière’s concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Rancière provides a vision for art, which is related to life and ultimately reshapes life. Rancière’s critique of both formalist modernism and Jean-François Lyotard’s postmodern view underlines the social implication of new media art practices, which seek to form “the common of a community.”

This essay attempts to trace the various implications of bodies which are made from the integration of human body with technologies in the contexts of art. I investigated the body transformations and mediation-effects from combinations of human body with chips, prostheses, surgical operations in artistic performances. The hyper-mediated bodies in this essay means the bodies that encounter with technology directly, are mediated, added, and metamorphosed or modified by technology, and are fascinated with technology, confirmed by medial diversity and mediation. Technology may be machines or not. Hypermediated body tends to stress not finished result but the process itself as the heterogeneous. It also has the postmodern deconstructive characteristics of body of deformation, fragmentation, inter-penetration, hybridization, and diversity. The notion of‘ hyper-mediation’ comes from Jay David Bolter and Richard Grusin’s Remediation, Understanding New Media(2000). I studied the real practices of integration of body and technology in art, not only ways of artistic expression but also the various meanings of the very point of integration. My standpoint on‘ Posthuman’ concept which we will meet inevitably in the near future, is neither negative or positive. I am just concerned with the reconstruction of bodies in art, and with the ways how artists accept and express these situations. There are delicate dialectical meanings in the point or edge where body and technology meet and contact. They arouse from the process of acknowledging of inter-construction, integration of human and technology. They also run parallel with theoretical methodologies from gender study, philosophy, literary criticism and visual culture, psychoanalysis and deconstruction, cyber-theory, biomedicine, and phenomenology etc. Through these means, they attend to the dialectics between subject and object, flesh(meat) and machine, metaphor and materiality, figuration and literality, inside and outside, internalization and externalization, body and technology, human and posthuman. These opposite elements are linked in the relations of mediation and transformation each other. The Hyper ― Mediated Bodies in the Age of New Media Jeon, Hyesook(Ewha Womans University, Assistant Professor) In this essay, I treated Australian artist Stelarc and French artist Orlan's hyper-mediated body performances. Their bodies are the modified and added constructions, and they have accepted the very liminality itself and the way of‘ becoming’ through cyborg-like encounter(human/machine) and surgical operations. They opened a new understanding of hyper-mediated bodies in the age of new media.

This study discusses the community of participants in new media-based art of Taeyoon Choi, Wafaa Bilal and Mushon Zer-Aviv in relation to current discourses on social functions of art by Nicolas Bourriaud and Jacques Rancière. Focusing on these artists' participatory projects which aim to provide alternative perspectives on wars between countries, to raise awareness about expanding surveillance systems in city spaces, or to create new public spaces on the web, this paper argues that their works hybridize entertainment culture and political activism to suggest a new model for political art.

현대의 문화세계는 점점 더 복합(complex)적인 곳으로 흐르고 있다. 이러한 세상에서 소비자의 심리와 행동도 서로간의 상호작용에 따라 수시로 다양하게 변화하기 때문에 기업은 감성경영에 따른 브랜드를 소비자와 커뮤니케이션하는데 있어서, ‘소통’을 통해 관계를 만들어가고 발전시키고 ‘관계’를 유지시켜 나가는 친구로 만들어야 한다는 것이다. 문화의 콘텐츠와 트렌드의 뉴미디어적인 특성들을 활용하여 융합적이면서도 통합적인 접근으로 제작되는 브랜드광고는 소비자들에게 재미, 즐거움, 환상, 놀라움 등을 통해 공감과 감동을 주는 감성시대에 가장 적합하고도 실제 구매와 연결되어 긍정적인 결과를 가져올 뿐만 아니라, 콘텐츠 관련하여 likable의 상승으로 다양한 확대상품으로의 응용범위 활동의 가능성을 이끌어낼 수 있다. 그리하여 소비자가 지속적으로 참여하며 만들어가는 브랜드 인식을 통해, 콘텐츠 관리를 통한 머천다이징까지 지속적으로 활성화를 시킬 수 있는 것이다. 우리나라는 디지털산업의 발전방향과 함께 문화콘텐츠에 대한 인식과 관점을 다양하고 포용력 있는 환경으로 조성하여, 창의력과 전문성이 확대된 차별화 브랜드를 세계 속에서 성장시켜야 한다. 그러기 위해서는 브랜드를 ‘비즈니스’만이 아닌 하나의 ‘문화’의 창조라 여기는 인식이 필요하다.