Abstract: This paper analyzes the production process of the generative AI image series Taste Series to examine how taste images can be constructed through the organization of surface and space rather than reduced to direct iconography. The work does not represent sweetness, sourness, umami, and bitterness through food images, but transposes them into soft fibrous surfaces, translucent membranes with condensation and rupture, moist moss-like accumulation, and charred, flaking textures. Through this process, taste is reconstructed not as a specific object but as bodily residue and spatial atmosphere. This study identifies surface variables, spatial conditions, excluded iconography, and sensory residue as key production variables, and presents a human-guided production process involving reference image setting, taste-specific prompt construction, selection and rejection, refinement, and upscaling. The perceptual persuasiveness of generative AI images is not completed by prompts alone, but emerges through the maker’s iterative judgment in selecting, rejecting, refining, and adjusting images for final output.

Keywords: Generative AI Image, Taste Image, Sensory Transposition, Surface-Space Composition, Human-Guided Workflow

DOI : 10.5909/JBE.2026.31.4.671

Abstract: This study analyzes how vertical iconography is reconstructed through sound-based multimodal mapping in the ongoing media art work The Vibrating Medium: Archaeology of the Tower. The work connects three vertical icons, Dabotap, a church spire, and democratic iconography, with three sound sources: moktak sound, Gregorian chant, and democratic chant. These auditory signals are translated into particle movements such as expansion, convergence, upward flow, contraction, and pause. Rather than treating sound as a background element, the work uses it as a structural input that transforms the form and movement of each icon. The study also examines the vertical arrangement of CRT monitors, which functions not only as a display device but also as a physical tower. Through this case study, the paper argues that vertical iconography can be understood not as a fixed monument, but as a fluid media image reconstructed through sound, data, particles, and obsolete display technology.

Keywords: Media Archaeology, Vertical Iconography, Multimodal Mapping, Particle, Installation

DOI : 10.5909/JBE.2026.31.4.657

Abstract: This study examines how audience experience is designed through access structures in a single-viewer VR performance. The case analyzed is The Fourth Wall, a VR theater work created by the authors, in which one spectator moves among four functional spaces: Stage & Audience Area, Backstage, Control Booth, and Practice Room. Through this structure, the spectator encounters not only the present performance but also the conditions of preparation, technical operation, and rehearsal that support its formation.
The study proposes a four-stage viewing access pipeline: spatial functional differentiation, access rule design, spatial-temporal mapping, and path-based viewing assembly. The analysis shows that audience experience in VR performance is shaped less by the intensity of technological immersion or the number of interactive functions than by how access to spaces, temporal layers, and viewing paths is structured. By reframing VR spectatorship as a matter of designed access, this study suggests a practical model for VR performance, XR exhibition design, and archive-based immersive content.

Keywords: VR Performance, Audience Access Structure, Single-Viewer Experience, Spatial-Temporal Mapping, Viewing Pipeline

DOI : 10.5909/JBE.2026.31.4.639

Abstract: This study analyzes a live XR performance implemented through the integration of the Xsens motion capture system and Unreal Engine’s Live Link. Focusing on a performance structure repeatedly operated at public content and ICT events in the Daegu and Gyeongbuk region, the study examines how real-time technical systems constitute and mediate performative action. In this case, the performer’s bodily movements were captured, converted into skeletal data, streamed into Unreal Engine, retargeted to a digital character, and displayed on a large screen with virtual backgrounds and visual effects. The analysis shows that IK retargeting and character optimization function not merely as technical procedures, but as key conditions for the performative plausibility of the digital character. It also demonstrates that liveness was produced through the temporal connection among the host’s facilitation, audience requests, operator actions, and the digital character’s responses. Finally, the large screen operated not as a simple display device, but as a remediated performance space where body, data, image, and audience interaction converged.

Keywords: Motion Capture, Xsens, Live Link, Unreal Engine, XR

DOI : 10.5909/JBE.2026.31.4.600

Abstract: This study proposes a color-segmentation-based procedural pipeline for transforming a decorative 2D mandala image into a 3D object-based virtual environment, as a preliminary implementation for the VR extension of the Medicine Buddha NanoMandala project. The pipeline uses the color information of an input mandala image to automatically place rock-like 3D objects that visually function as sand-particle units. Placement candidates are extracted through raycasting, while collision points with the mandala mesh are excluded as wall regions and white background areas are skipped using an RGB threshold. Through this process, both the color regions and empty spaces of the original image are reflected in the 3D layout. The implementation shows that color information can function not only as a surface attribute but also as a control variable connecting prefab selection, object placement, background exclusion, and post-processing. Comparisons of scale and maximum object count further indicate that balancing pattern legibility, particle-like texture, and execution feasibility is critical for implementing a VR sand mandala.

Keywords: Virtual Reality, Procedural Generation, Color Segmentation, 3D Object Placement, Sand Mandala

DOI : 10.5909/JBE.2026.31.4.588

Abstract: This study examines how room-scale walking and spatial transition structure emotional experience in affective VR art. Moving beyond functional approaches to VR locomotion that emphasize efficiency, usability, and motion sickness reduction, the study reinterprets locomotion as a design element that shapes the temporal structure of emotional transition. Through a practice-based single case analysis of an abstract VR artwork created by the author, the study investigates how four spatial sections, canyon, tunnel, basin, and uphill, correspond to the emotional sequence of pressure, confusion, relief, and recovery. The analysis suggests that actual walking, spatial constriction and openness, upward movement, and abstraction combine with bodily action to form embodied emotional navigation. Based on these findings, the paper proposes design principles for affective VR art, including non-visual narrativization of movement, emotional encoding of spatial states, interpretative openness through abstraction, emotional functionalization of bodily effort, and sensory concentration through minimal interfaces. It also presents a production pipeline for emotion-centered VR creation.

Keywords: Affective VR Art, Room-Scale Walking, Spatial Transition, Embodied Emotional Navigation, Abstract Environment

DOI : 10.5909/JBE.2026.31.4.575

Abstract: This study analyzes “LetPle,” an XR-based experiential content developed by the author, to examine how spatial interfaces and gamification design combine to organize physical participation in public exhibitions. LetPle was implemented with LiDAR-based floor tracking and projection mapping, and the analysis draws on planning documents and operation records produced during its development and operation. Three findings are identified. First, the floor-based LiDAR tracking interface serves as an accessibility condition for all-age participation by aligning input with everyday movement. Second, the gamification structure—30-second rule learning, cooperation, competition, and replayability—assigns goals and feedback to physical movement, inducing voluntary repeated engagement. Third, while the two elements mutually reinforce each other, sensor precision limitations and occlusion errors partially sever the link between physical accuracy and game outcomes. This study proposes that spatial interface logic, gamification design, and technical reliability must be considered in an integrated manner for body-centric public XR content.

Keywords: Experiential XR Content, Floor-Based Interface, Gamification, Physical Participation, Public Exhibition

DOI : 10.5909/JBE.2026.31.4.564

Abstract: This study analyzes the fixed spatial and narrative structure of the media art work Jom’s Trip and proposes a generative AI–based workflow to extend the work. The original piece is a video-based artwork derived from the artist’s personal travel experience, where the audience observes a predetermined visual sequence. To address this limitation, this research designs a generative content structure in which narrative and spatial generation modules operate based on audience input. The system generates new text and visual scenes from user queries and integrates them into an interactive media experience. This approach demonstrates the potential to transform fixed video-based media artworks into data-driven generative systems and suggests new production methods for interactive media art using generative AI.

Keywords: Generative Artificial Intelligence, Media Art, Narrative Generation, Spatial Generation, Content Workflow

DOI : 10.22819/kscg.2026.39.4.003

Abstract: This study explores how the rise of digital technology reshapes and expands the concept of traditional sculpture. Whereas traditional sculpture centered on materiality, form, and the occupation of physical space, contemporary art is undergoing a fundamental shift by embracing data and algorithms as new formative materials and methodologies. This paper examines how sculpture is realized in digital environments through three key technologies—3D modeling, augmented reality (AR), and artificial intelligence (AI)—based on case studies of three artists. Through this analysis, the study investigates how non-material elements operate within contemporary sculptural practices and highlights the aesthetic significance and potential of sculpture in an era of technological convergence.

Keywords: Digital Sculpture, Digital Technology, 3D Modeling, Augmented Reality (AR), Artificial Intelligence (AI)

DOI : 10.22819/kscg.2026.39.3.005

Abstract: This study examines how XR–based Virtual Production technologies are differently received in live performance, arguing that their effects are shaped by cultural and genre-specific contexts rather than technical performance. Moving beyond XR research focused on immersion and presence, it analyzes how the status and role assigned to technology organize audience experience. Using an ideal-type qualitative typology, the study identifies three modes of XR/VP reception: spectacle-, message-, and narrative-oriented. Case analysis shows that experiential impact depends on how technology is culturally appropriated. By framing XR/VP as a cultural practice rather than a fixed technical tool, the study proposes an interpretive framework for evaluating technology in live performance.

Keywords: Extended Reality, Virtual Production, Technological Appropriation, Typological Analysis, Live Performance

DOI : 10.22819/kscg.2026.39.2.005

Abstract: The purpose of this study is to develop a narrative-timeline framework for VJ practice that integrates artistic intention with technical execution. The model combines an eight-stage emotional narrative structure with a six-phase timeline workflow, positioning the VJ as both creative director and coordination mediator in live event production. Building on this foundation, the study explores how artificial intelligence can extend the framework through functions such as automated emotional tagging, predictive workflow optimization, and real-time conflict resolution. While still conceptual, the results indicate the design feasibility of a replicable blueprint for participatory and sustainable VJ practice. Future work will involve empirical validation and the development of AI-assisted tools that preserve human creative agency while expanding narrative and operational possibilities in live media performance.

Keywords: Visual Jockey (VJ), Narrative-Timeline Framework, Human-AI Collaboration, Live Media Performance

DOI : 10.22819/kscg.2025.38.6.008

Abstract: The purpose of this study is to design a participatory framework for voxel-LED public art that integrates artificial intelligence for sustainable urban engagement. Using a Research through Design (RtD) approach, the framework combines a voxel-LED installation with an interactive kiosk, enabling citizens to co-create content through generative AI and to experience adaptive responses based on environmental data. The proposed system indicates both technical feasibility and design potential, offering two core scenarios: generative co-creation and environment-aware adaptation. While still conceptual in scope, the results specify a replicable model for participatory urban art and provide a roadmap for future studies to evaluate user interaction and advance placemaking-oriented practices.

Keywords: Voxel-LED, Participatory Public Art, Generative AI, Environmental Adaptation, Interactive Urban Media

DOI : 10.22819/kscg.2025.38.6.003

Abstract: This study proposes strategies for projecting media art onto glass-surfaced architecture, addressing challenges such as transparency, reflection, and visibility. Using the Aqua Art Overpass in Seoul as a case study, the research compares glass and opaque surfaces through mock-ups and luminance simulations. By applying high-lumen projectors, special films, and content adjustments, the study demonstrates that glass facades can effectively serve as dynamic media surfaces. The findings highlight the visual and spatial potential of glass in urban environments, offering practical insights for future applications in architectural media art.

Keywords: Media Art, Projection Mapping, Glass Facade, Urban Public Space, Visual Perception

DOI : 10.22819/kscg.2025.38.3.007

Abstract: This study explores the concept of screen-performance as a sensory and performative interface in interactive media content. Moving beyond the traditional notion of the screen as a passive display, it examines how screens can function as spatial, real-time systems that engage users’ bodies and perceptions. Based on theoretical research on screen media and performativity, the paper analyzes two original media artworks—Light, Movement of Boundaries and Boundaries: Coexistence—as case studies. These works demonstrate how screen-based installations can incorporate sensor feedback, adaptive visuals, and embodied participation. The findings suggest that screen-performance offers a meaningful framework for designing immersive user experiences in media art, interactive installations, and game environments.

Keywords: Screen-Performance, Sensory Experience, Performativity, Interactive Media, Media Art

DOI : 10.22819/kscg.2025.38.3.003