In the course of development of science museum exhibitions, the audience’s interest in interactive experience using digital technologies keeps increasing. As the role of the audience became crucial to operate the artwork itself in various types of e... In the course of development of science museum exhibitions, the audience’s interest in interactive experience using digital technologies keeps increasing. As the role of the audience became crucial to operate the artwork itself in various types of experiential exhibitions, many studies are being conducted on interactive experiential exhibition. However, the artworks in experiential exhibition in Korean science museums are not examined not examined enough. This is the result of unconditional and indiscriminate attitudes in adapting and benchmarking overseas museums’ design techniques and forms. In consequence the participation of the audience just stays on simple physical activities, which cannot be extended to further reflection. This study intends to find the current status of Korean responsive experiential exhibitions and identify current problems with them, in order to understand any potential for their development. For this purpose, this study aims to go over the theoretical views for the history and intention, and its developing direction of experiential exhibition first, and then apply its foundings to the cases of responsive experiential exhibitions in science museums. Also, this study will investigate the artistic experience particularly in interactive artworks in order to apply its properties to responsive experiential exhibition in science museums. This is because their features and objectives in interactive art share the same contexts with responsive experiential work in science museum, although the spatial characteristics of where they are installed are sometimes different. The current study attempts to find out the needs and objectives in studying responsive experiential exhibition, particularly its contents and claims that the contents needs to lead emotional and cognitive communication from the audience. In order to heighten the quality of the audience’s experience with the artifact in science museums, this study examines the interactive artwork. It is because interactive artwork exploits the audience’s responses and experiences as a mechanism to convey the meanings of artwork, at the same time such experiences with the artwork expand and connect to the artistically aesthetic level. The current study looks at the concept of flow and self-reflexivity as a mechanism of reflective and effective artistic experience. Based on this concept, the study compares several artworks from interactive artwork to the ones from responsive experiential exhibition at Gwacheon National Science Museum. This is to conduct a parallel comparative analysis in between them and therefore, I focused on selecting the same condition in terms of display forms, interaction techniques, or storytelling method used in each work. Autonomous participation and the continued immersion of audience members allow them to explore the subject matters of the work, and proactively extend their experience to understand scientific knowledge and principles. In addition, this kinds of experience can be developed into artistic experience with emotional and sensible aspects. This means that artistic experience can produce scientific, technological, cultural, artistic, and social relationships by reflecting the self, thereby continuing to generate unique and productive experiences. Along with this discussion, this study finally aims to suggest mutual communication and qualitative development of contents centered around interdisciplinary cooperation among science, technology, and arts in planning and designing responsive experiential exhibitions in science museums. ，韩语论文网站，韩语论文题目 |
