현대 사회에서 첨단 기술의 발전은 예술의 양상을 빠르게 변화시키고 있다. 생성형 인공지능 기술의 발전은 인류의 전유물이라 여겨왔던 창작 행위에 기존에는 보지 못했던 색다른 표현을 제공했다. 또한, 전통적 기법 을 고수하던 예술인들에게 새로운 예술 창작의 발현 방식을 제시하였다. 하지만 나날이 발전하는 인공지능 기술에 비해, 이를 활용한 구체적인 미디어아트 제작 과정 연구는 아직 국내에서는 미비하다. 본 논문은 인 공지능 기술을 활용한 미디어아트 해외 사례를 탐구한다. 그리고 Text-to-Image 인공지능 생성 모델과 게임 엔진 Unreal Engine 5를 이용하여, 국내에 자리 잡지 않은 생성형 인공지능을 활용한 작품 제작 방법론과 창 작자들에게 인공지능 이미지 생성 모델의 확장성을 제시한다.

Firms are increasingly using social media influencers to promote their products. We develop a two-period model to investigate a firm’s strategy for introducing a product via an influencer, where there is uncertainty in the influencer-product match. In the second period, the influencer exerts an effort to promote the product to her followers, who can spread the product information to non-followers via word-of-mouth (WOM). In the second period, the firm sells to the non-followers. We show that the firm’s pricing, production, and commission contract decisions depend on the influencer’s incentive-independent excess payoff from the promotion and on the difference between the WOM effect of followers who do or do not make a purchase rather than the WOM effect of each group. As the influencer’s incentive-independent payoff increase, the firm will increase (decrease) commissison rate and commission rate when the followers’ sensitivity to product price is relatively low (high) compared with that to the influencer’s effort. As the marginal WOM benefit of the first-period sales increases, the firm tends to reduce his unit net profit from sales. The influencer with a medium-sized follower base receives the highest commission rate and exerts the largest promotion effort. While the followers of influencers with a medium-sized follower base may pay the highest price. We also show that (i) there exists a threshold for the probability of match, above which the firm faces zero demand in the first period if an influencer-product mismatch occurs; and (ii) the firm may charge followers a lower price than non-followers, even though followers are less sensitive to price than non-followers. Finally, regarding influencer selection, we find that the firm may not be better off employing an influencer with a larger follower base.

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.

How much do you like a person who loves the brands you hate? We investigated an effect we call the brand negativity bias, which occurs when an unfavorable brand reduces the attitudes toward an associated target product or person. Using a person perception paradigm in the context of brand placements, Experiment 1 established that unfavorable brands reduced attitudes toward a new digital product (i.e., a movie) in which the brand was placed. Experiment 2 showed this effect was driven by a reduced ability to connect with the character in the movie who was associated with an unfavorable brand in two serial processes (lower perceived similarity leading to lower empathy). These results provide the first evidence showing how unfavorable brands can reduce empathy between people. Supporting the brand negativity bias, we found that unfavorable brands yielded stronger effects across every evaluative outcome suggesting that unfavorable brands held more influence over consumer judgment compared to favorable brands. Lastly, these results add a layer of complexity to B2B partnerships and tell a cautionary story of when unfavorable brand associations transfer between entities.

A new form of media is changing the expression and content of fashion. In this paper, fashion films that have appeared since 2010 - when digital fashion communication was increasing - will be discussed and explored to consider how technological transitions in fashion media are changing the appearance and role of fashion. A literature review was conducted to derive characteristics, types, and expressive elements of new media fashion films, which were defined for this study as fashion films produced and distributed since 2010 using digital media. Films were categorized into three types: promotional, editorial, and independent fashion films. Furthermore, elements of the films were identified as fashion mise-en-scene, auditory structure, and content structure. Types and expressions of digital fashion images in 40 fashion films were analyzed according to these elements. The results showed that promotional fashion films maximize various narrative and sensory effects on fashion products, whilst editorial fashion films strengthen the role of entertainment. Independent fashion films expand the area of fashion and promote the diversification of fashion systems. Moreover, the results show that fashion films are not a secondary form of media that just expresses fashion; they provide a tool for the creation of new fashion content. New media fashion films promote the expansion of expressive spectra and boundaries, offering various multisensory experiences of fashion, and enhancing creativity and the aesthetic values of fashion.

In the new media environment, the two different media types, game and film, fused to each other to create a qualitative change to form a new media type. In recent years, there has been an increasing trend in the background of the convergence of virtual technology and media. Therefore, movies based on the game were produced. In this heat, it is necessary to analyze the gains and losses of the reorganization in a cool way, to review the current state of filming of the game, and to examine the new convergence of games and films in the rapid environment of new media technology. In addition, it is necessary to consider the problems presented in the fusion process of the two mediators and how to develop them in the future.

The research employs factor analysis, followed by a MANOVA procedure to explore relationships between fashion consumption and social media usage behavior based on data collected from 447 individuals. Findings suggest that social media usage and apparel consumption motivations interact, particularly for whom use social media for instant-self presentation.

Given the relevance of social media platforms into everyday life, User-Generated- Contents (UGC) have come to represent one of the richest and used source of online information (Koltringer and Dickinger, 2015). UGC include online information sources that are developed, and used by consumers who intend to communicate each other and share information about products, brands and services (Culotta and Cutler, 2016) influencing other customers’ perception and decision-making process. In this perspective, for marketers who need to manage their brands, UGC on social media provide new opportunities and new dangers. One particular kind of contents created by consumers are parodies of advertisement (parodic ads), humorous messages that parody extant advertising (Roehm and Roehm, 2014). This kind of UGC can damage or be beneficial for brands image and reputation. After the development of an overview about parody literature in management discipline, this research aims at investigating the effect of parodic ads video - created and shared by users on social media - on the image and the reputation of the parodied advertising's brand. With this aim, authors will developed a content analysis on ads videos and parodic ads videos and related comments on You Tube.

Digital technological development has created different new possibilities. New products and services are developed to cater the needs and wants of these digital consumers (or digital natives). It has also changed the means of marketing communications. Social media has become an integral part of many people’s lives, thus social media marketing is found in the marketing strategy of every brand. Western social media platforms like Facebook, YouTube, Twitter and so on are banned in China. In their places, Weibo, WeChat, Youku and more are the main social media channels in China and thus the main battlefields of social marketing for brands entering China Market. WeChat is the largest social network in China, with over 900 million users daily. Chinese users spend an average of over 70 minutes a day using WeChat, for nearly all types of services, including booking flights, restaurant table reservation, shopping, paying bills, hailing taxi, transferring money, and posting Moments on their walls, etc. Not only that, WeChat allows companies and celebrities to create official accounts to generate content for promotional purposes. Moreover, WeChat allows one-to-one personalized interaction between brands and the users. To cater the needs of the new generation of Chinese digital natives, a mobile app eM++ was developed that creates new customer services and enables tailored fashion marketing. The eM++ app has three components. The first core component is 1Measure, which users can obtain their body measurements by skimpily taking two photographs of themselves in normal clothing anywhere and anytime. Without the involvement of expensive equipment, users can enjoy similar benefit of body scanning but more flexibility and convenience, they not only instantly receive their measurements but also have their digital body model and a shape analysis report. Based on this information, the second component of the app eShop allow users to shop fashion items currently available in different online fashion stores like ASOS, Zara, and H & M, etc. In eShop, users are suggested the right sizes to order for different fashion items, based on their measurements and shape information, and also mix-and-match recommendations. The last component is eTailor, where users can order clothing like suit jackets, pants and shirts that tailored made for them, but save the need to take body measurements in a physical store. This new digital service will first be launched in China as there is high demand on Made-to-Measure fashion and marketing through WeChat social media platform. This paper will discuss how to market this new digital service using social media like WeChat in China and consumers’ reactions to this new business model in this digital world.

New media has been an important component of modern life with recent development of immersed media-rich environments (Lim & Nekmat, 2008). Jenkins and his colleagues (2006) refer such environments and their dynamics as participatory culture, in which meaning making and consumption processes are influenced by other new media users. These processes are especially attracting youth, who are open to experimentations with online identities. Such experimentation does not necessarily have to be related with entertainment. Rather it can also be related to learning and education. The primary aim of the current study is to understand the relationship between new media literacy and imaginativeness among undergraduate communication majors. The main assumption of the study is that communication undergraduates heavily use new media products and services. And such practices inevitably impact on their creative, social and practical imaginativeness. Findings aim to shed light on how interactions with the new media technologies impact on imaginative processes and practices of aspiring communication professionals.

As mobile shopping has increased in the new media age, fashion consumers’ decision making and product consumption processes have changed. The volume of consumer-driven information has expanded since media and social networking sites have enabled consumers to share information they obtain. The purpose of this study was to determine the factors affecting information searching strategies and information sharing about fashion products. An online survey collected data from 466 respondents, relating to the influence of product price level and consumer SNS commitment level on information search and information sharing. Experimental design of three product price level and two consumer SNS commitment level was used. Analysis of the data identified factors in fashion information searching as ongoing searching, prepurchase web portal information search, and prepurchase marketing information search. For low-price fashion products, prepurchase product-detail influenced intention to share information. For mid-priced products, ongoing search significantly affected intention to share information. Both ongoing search and prepurchase marketing information search showed significant effects for high-price products. Consumers who are more committed to SNS engaged in significantly more searching in all aspects of information search factors. Significant interaction effect was detected for consumer SNS commitment level and product price level. When consumers with low consumer SNS commitment search for information on lower-priced fashion products, they are less likely do a prepurchase web portal information search.

Despite its innovative and avant-garde reputation, the luxury industry initially began showing a very low commitment to new online marketing tools and it held a conservative approach to selling when compared to other sectors. Nowadays, the context has dramatically changed and luxury brands are approaching with an increasing interest social networks as well as the online selling. This research aims to clarify the current strategic approaches of the players in the different luxury markets towards the social commerce phenomenon, from both a theoretical and an empirical point of view. The purpose is to test a framework that can be used to classify luxury companies’ strategies regarding social media adoptions based on actual theories on social media. Four strategies related to the social media adoption by luxury brands have been identified: the Social brand ambassadors strategy class (low promotional content percentage and low social commerce score) includes those brands that use social media for entertainment and user engagement; the Social showcases strategy (high promotional content percentage and low social commerce score) includes those brands that use their social accounts as online catalogues; the Social infotainers strategy (low promotional content percentage and high social commerce score) includes those brands that scored high in social commerce, mainly because of the provision of informative content and brand–consumer interactions, but they were linked to more entertainment-oriented actions rather than product-related ones. Finally, the Social sellers strategy (high promotional content percentage and high social commerce score) includes those brands that have integrated social commerce into their online strategies and have subsequently exploited the potential of social media to drive online and offline sales. The database is built using original data from a content analysis of 100 luxury brands’ postings on five different social media platforms – namely Facebook, Twitter, YouTube, Instagram, and Pinterest. The total final sample included 12,132 Facebook posts, 21,216 tweets on Twitter, 1,105 YouTube videos, 10,138 Instagram pictures/videos, and 117,359 Pinterest pictures. The main findings are the following: luxury brands adopt at this stage the Social brand ambassadors and Social showcases approaches; brands belonging to the perfumery, cosmetics, jewelry and watches markets show a more developed attitude towards the social commerce; in other luxury markets, such as wine and spirits, brands still adopt a Social Brand Ambassador strategy, while managers should increase the promotional content in order develop the social commerce. The Fashion & Accessories brands show a positive relationship between the percentage of promotional content and social commerce score. This means that social commerce adoptions depend on the single brand’s strategic choices, ranging from low adoption to best practices. In general, social commerce is still not widespread; many luxury fashion brands, while presenting new collections during fashion weeks, focused on fashion shows, backstage events, and celebrities, rather than really promoting the new product lines with materials, availability, and purchasing indications. This social media approach is mainly focused on increasing brand awareness rather than increasing social commerce. If managers aim at increasing social commerce they should add direct call to action and link the contents to e-commerce market place. Automotive brands are concentrated in the Social showcases area; This sector encounters natural limitations in the introduction of social commerce due to the difficulty of selling products through the digital channel; many brands have, however, devised strategies to approach their users during the purchasing process prior to the actual transaction to take advantage of the increasing ROPO phenomenon. Conversely, the Perfumes & Cosmetics sector shows a highly fragmented approach to social commerce. The content analysis based on single post contents has shown that actually the contents are based on pictures of the products, or the brand, information on events, and a large and increasing presence of video posts based storytelling about the history of the product and the brand heritage; the most social commerce oriented posts are picture or video focused on the product. The commercial contents that aim at developing the see now, buy now approach are mainly based on video shows.

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.”

동시대 사회적 변혁에 있어서 디지털 미디어의 역할에 대한 도구적 관점은 정치 적으로 조망되고 있다. 방송미디어의 가치는 평가 절상되었고 시민들이 사적으로 소통하는 미디어는 가치 평가 절하되었다. 그러나 중동사태, 영국폭동, 일본 쓰나미 와 후쿠시마 원전 폭발사전, 한국에서의 시장선거(2011)에서처럼, 소셜미디어는 기 득권 미디어의 대안으로서의 역할을 분명히 하고 있으며 의제설정의 힘을 획득하 고 있다. 본 연구는 소셜 미디어가 사람들로 하여금 인식을 공유케 하는 역할을 점 검하고 보수적인 권력이 소셜 미디어와 네트워킹 현상에 대해 대처하는 방식을 검 토하고 있다. 또한 본 연구는 소셜 미디어가 사회적 합리성을 증진시키는 도구로서 의 역할을 수행함에도 불구하고 소수의 엘리트에 의해 과점적으로 지배되어 권력 의 면역시스템 기능을 수행할 수 있다는 점에 우려를 표명하고 있다.

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.

본 연구는 기존 기술수용모형에서 제시한 인지된 유용성과 인지된 용이성뿐만 아니라 개인의 특성과 성향이 새로운 기술수용에 매우 중요한 요인으로 작용할 것으로 예측하였다. 이에 인지된 유용성, 인지된 용이성과 함께 개인의 성격적 차원에서 외향적 성격, 내향적 성격, 개혁성향을 개인의 특성적 차원에서 자기효능감, 자아존중감을 IPTV나 디지털 전환 수용에 영향을 미치는 요인으로 설정하여 설문조사 후 분석하였다. 분석결과 인지된 유용성, 내향적 성격, 자아존중감이 IPTV 수용 태도에 영향을 미치는 것으로 나타났으며, IPTV 수용태도는 IPTV 수용의도에 유의미한 영향을 미치는 것으로 나타났다. 또한 디지털 전환 수용에 영향을 미치는 요인으로는 인지된 유용성, 인지된 용이성, 외향적 성격, 내향적 성격 그리고 개혁성향으로 나타났다. 디지털 전환 수용태도 역시 의도에 유의미한 영향을 미치는 것으로 나타났다.