21세기 패션에 나타난 하이퍼텍스트의 미적 특성 연구

최나영 숙명여자대학교 대학원 2008 국내석사

The growth of information communication technology has evolved the 21st century into a digital-oriented era. Digital is a social, cultural phenomenon that features the lifestyle of human beings. This phenomenon occurs anywhere, anytime based on hypertexts. In this study, the correlation of fashion with hypertexts that reflect the characteristics of modern culture where the boundary between time and space has become vague and a variety of styles are mixed were analyzed. Also, the types of external forms and the aesthetic characteristics of design were researched by analyzing fashion in the 21st century. This study is summarized as follows: First, the technical and philosophical aspects of hypertexts were theoretically researched in order to understand hypertexts. In addition, the characteristics of hypertexts were analyzed by reviewing the theories of the previous researchers for hypertexts. From a technical point of view, hypertexts denote underlined texts in blue, which can be seen commonly from web documents. They allow the users to move to another website through nodes and links. From a philosophical point of view, hypertexts cover the diverse meanings of texts. In addition, the range of hypertexts is expanded, and they mean the opening, expansion, or reproduction of texts. As a result of this research, the characteristics of hypertexts turned out to be nonlinearity, borderlessness, interactivity, multimediality, and decentring based on the concepts created by P. Levi, G. Landow, and R. Fowler. Secondly, the characteristics of hypertexts were categorized and the formativeness of each hypertext was analyzed in order to research the correlation of hypertexts with fashion. Nonlinearity has non-sequential and unpredictable features, and does not have a definite path. In fashion, nonlinearity was shown in the misrepresentation of human bodies due to irregular pleats and overlapping as well as a bulky feel and the expansion of spaces for clothes. In addition, variable changes were pursued by emphasis and transformation, which are opposing concepts to proportion. Borderlessness has a structure without boundaries due to the links of hypertexts. In fashion, borderlessness had a modular structure. It also had an open structure through twist and origami as well as the overlapping and transparency of materials, and showed continuity with dynamic movements. Interactivity denotes the interaction of stimulations and responses, which occur as information flows bi-directionally. In fashion, interactivity was shown in the form of designs that are transformed by the participation of those who wear clothes due to visual effects from the movements of the human body and clothes and technology development. Multimediality is an attribute that occurs by connecting diverse types of files to nodes. It gets to have intermediality, and is related to the concept of intertextuality. In fashion, multimediality was shown in the form of hybrid fashion. It tears down the boundary between fashion and other fields and ensures interaction between fashion and other fields to create new types of fashion. Decentering enables the interest of readers to form or move a center and to perform re-centering. In fashion, decentering expresses the dissolution of perpendicularity and horizontality, avant-garde, which is a combination of exotic elements, and disorderly ugliness as beauty. Thirdly, the aesthetic characteristics of fashion were researched based on the aforementioned structural characteristics of hypertexts and the correlation of hypertexts with fashion. Spatial beauty turned out to represent multi-layered spaces by extending clothes through exaggerated silhouettes and giving a three-dimensional feature to the surface of two-dimensional clothes. Dynamic beauty offers continuous movements through continuity ensured by the vague boundary. Asymmetric style was created based on the possibilities of changes and the expansion of forms. Voluptuous beauty provides clothes with transparency. The beauty of curves was emphasized by using designs that stood out body lines or a specific part of a body as well as elastic or transparent materials. Functional beauty turned out to be able to be transformed into a variety of forms and functions by the participation of those who wore clothes or external influence. In fashion, mobility, portability, and protective functionality are emphasized and expressed. Eclectic beauty has a combination of diverse styles; thus, boundaries were dissolved. Styles were mixed to create new styles. Diversity and identity were expressed. Grotesque beauty expressed disharmony through dissolution, transformation, distortion, and exaggeration. It was represented through unfamiliar materials, the transformation and distortion of design, the destruction of forms, and disharmony. In this study, the characteristics of hypertexts and the correlation of fashion with hypertexts were researched to enable an increase in the fields applicable to fashion and having an open mind. These research results are expected to make new aesthetic approach and to propose a wider point of view. 정보통신기술의 발달은 21세기를 디지털 중심 시대로 변화시켰다. 디지털은 인간의 삶의 양식을 특징짓는 사회 · 문화적 현상이다. 이러한 현상은 하이퍼텍스트(hypertext)를 기반으로 시 · 공간을 초월하면서 그 경계가 불분명해지며 동시다발적으로 발생하고 있다. 본 연구는 시 · 공간의 경계가 모호해지고 여러 양식이 혼합되는 현대 문화의 특징이 반영된 하이퍼텍스트와 패션과의 연관성 살펴보고 21세기 패션을 분석하여 외적형식에 따른 유형과 디자인에 나타난 미적 특성을 파악하였다. 본 연구의 내용은 다음과 같다. 첫째, 하이퍼텍스트의 이해를 위해 기술적 측면과 철학적 측면에 대한 이론적 고찰을 실시하였다. 또한 하이퍼텍스트 선행 연구가의 이론을 통해 하이퍼텍스트의 특성을 파악하였다. 기술적 관점의 하이퍼텍스트는 인터넷 문서에서 흔히 볼 수 있는 파란색 밑줄 그어진 텍스트로 노드(node)와 링크(link)에 의해 다른 웹으로 이동이 가능하다. 또한 철학적 관점의 하이퍼텍스트는 텍스트의 다양한 의미를 아우르며 영역을 확장시켜 텍스트의 개방, 확대, 재생산의 의미를 담고 있다. 하이퍼텍스트의 특성은 피에르 레비(Pierre Levi), 조지 랜도우(G. Landow), 로버트 파울러(R. Fowler)의 개념을 통해 비선형성, 무경계성, 상호작용성, 다매체성, 탈중심성을 살펴보았다. 둘째, 하이퍼텍스트와 패션의 연관성을 살펴보기 위해 하이퍼텍스트의 특성을 분류하고, 각각의 조형성을 분석하였다. 비선형성은 정해진 경로가 없고 비순차적이고 예측 불가능한 특성을 갖는다. 패션에 나타난 비선형성은 불규칙적인 주름과 중첩구조에 의한 신체의 왜곡과 부피감, 의복 공간의 확대가 나타났다. 또한 비례의 개념에 대립되는 강조와 변형을 통해 유동적인 변화를 추구하였다. 무경계성은 하이퍼텍스트의 링크에 의해 경계가 없는 구조를 갖게 된다. 패션에 나타난 무경계성은 모듈(module)구조, 꼬임, 오리가미 방식, 소재의 중첩, 소재의 투명성을 통해 열린 구조를 가지고, 역동적 움직임을 갖는 연속성이 나타났다. 상호작용성은 정보가 양방향으로 흐름으로써 발생하는 자극과 반응이 상호 작용하는 것을 의미한다. 패션에 나타난 상호작용성은 인체와 의복 사이의 움직임에 의한 시각적 효과와 기술의 발전으로 착용자의 참여에 의해 변형이 일어나는 디자인이 나타났다. 다매체성은 노드에 다양한 형식의 파일을 연결하여 나타나는 속성으로 상호매체성을 갖게 되고 이는 상호텍스트성의 개념과 연결된다. 패션에 나타난 다매체성은 하이브리드(hybrid)패션으로 나타났다. 이는 타 영역과 패션의 경계를 허물고 상호작용하여 새로운 형태를 보여준다. 탈중심성은 독자의 관심에 의해 중심이 구성되고, 이동하며, 재중심화가 가능하다. 패션에 나타난 탈중심성은 수직 · 수평의 해체, 이질적인 요소의 결합인 전위, 무질서한 추(醜)가 미로 표현되는 것으로 나타났다. 셋째, 상기에 나타난 하이퍼텍스트의 구조적 특성과 패션의 연관성을 바탕으로 패션의 미적 특성을 도출하였다. 공간미는 과장된 실루엣을 통한 의복의 확장과 2차원적인 형태의 의복 표면에 3차원적인 입체성을 부여하여 다층적인 공간을 표현하는 것으로 나타났다. 역동미는 경계의 모호함을 통해 얻은 연속성이 지속적인 움직임을 제공한다. 이를 통해 변화의 가능성과 형태의 연장 가능성을 가지고 비대칭의 형식으로 표현되었다. 관능미는 의복에 투명성을 부여하여 신체의 라인이나 신체의 특정부위를 부각 시키는 디자인과 스트레치성 소재와 투명한 소재를 사용하여 신체의 곡선미를 강조하였다. 기능미는 착용자의 참여와 외부의 영향으로 다양한 형태와 기능의 변형이 가능한 것으로 나타났고, 패션에서 이동성, 휴대성, 보호기능성이 강조되어 표현되었다. 절충미는 다양한 스타일들이 복합되어 상호 경계를 와해시키고 혼합되어 새로운 스타일을 탄생시켜서 다양성과 정체성을 표출하였다. 기괴미는 해체, 변형과 왜곡, 과장을 통해 부조화를 표현하고, 이질적인 소재의 사용과 디자인의 변형 및 왜곡과 형태의 파괴, 부조화를 통해 나타났다. 본 연구는 하이퍼텍스트의 특성과 패션과의 연관성을 연구함으로써, 패션에 적용 가능한 분야의 확대와 열린 사고를 가능하게 한다. 이를 통해 새로운 차원의 미적 접근을 할 수 있으며 더 확장된 관점을 제시할 수 있을 것으로 사료된다.

하이퍼텍스트가 이야기 이해에 미치는 영향 : 상황 분절 및 인과 추론을 중심으로

김문경 연세대학교 대학원 2017 국내석사

Current study examined the influence of interactivity induced by hypertext during story comprehension. Previous researches have argued that additional aids are required when hypertext structure is applied because it is considered to be a mere obstacle in the process of understanding literature. However, a large number of digital storytelling utilize hypertext structure as a method to lead users into the state of 'flow’. Therefore, it is a hasty conclusion to define hypertext structure as an obstacle in understanding literatures. Language psychologists have suggested the concept of 'situation model' to describe the process of understanding narratives. The concept proposes that while reading a story, readers create series of situation models in their working memory that represent the fictional situation. When the story faces a new phase, existing model in the working memory is replaced by a newly formed situation model. According to the event-horizon model, segmentation into multiple situation models can occur even within a single story and these models affect long-term storage and retrieval of the contents of the story. Preceding research demonstrated that when subjects were asked to infer the causal relation between two sentenced as a recognition task, response time was faster in single-situation-model condition rather than two-independent-situation-models condition. One of the biggest difference of hypertext novel compared to linear literature is the inclusion of user participation task that directly determines the contents of next paragraph. Therefore, this paper aims to investigate the effect of user participation task during the process of implementing situation model as a method to comprehend the story. We hypothesized that user participation task may strengthen the cognitive advantage of hypertext structure if the task is related to the contents of the story, while the task would hinder the understanding of story if the relation is weak. Concretely, when the contents of user participation task are not related with the upcoming paragraph, task will only play a role of dividing paragraphs within a single situational mode. However, when the task is implemented between two situation models in direct association, it may provide better coherence in comprehension. In Experiment 1 using the user participation task irrelevant to the following contents, we found that the task separates one situation model into two different models which interferes the coherent inference of causal relationship. In experiment 2 we programmed the story to have a hypertext structure which can actively develop in accordance with the answers reported in user participation task. Results show that that the hypertext structure accelerated cohesive reading compared to linear structure condition. This study has a significant meaning in finding the cognitive advantage of hypertext. In addition, it also demonstrates how the user experience of hypertext novel can be measured in experimental environment and introduces the concept of 'situation model' and 'Evemt Segment Theory' in the field of hypertext literature. 본 연구는 하이퍼텍스트의 상호작용성이 이야기 이해에 미치는 영향을 알아보았다. 기존 HCI 연구자들은 하이퍼텍스트 구조는 글 이해에 방해요인이 되기 때문에 보조적 수단을 써 이해를 도와야 한다고 주장하였다. 그러나 많은 수의 디지털 스토리텔링 작품들은 하이퍼텍스트 구조를 통해 사용자의 몰입을 도모한 것이 사실이다. 이에 하이퍼텍스트 구조가 글 이해에 무조건적인 방해요인이 되는 것은 아니다. 언어심리학자와 심리학자들은 이야기를 이해하는 과정을 설명하기 위해 ‘상황모형’ 개념을 사용한다. 독자는 이야기를 읽어내려 가면서 현재 마주한 상황을 표상하는 상황모형을 작업기억에 형성한다. 이야기가 새로운 국면을 마주하면 작업 기억 안의 상황모형은 삭제되고 새로운 상황모형이 형성된다. 사건-수평 모형을 따르면, 하나의 이야기일지라도 상황에 따라 분리되어 형성된 상황 모형 간의 분절이 장기 기억에 저장되고 재인되는 양상에 영향을 미친다. 두 문장 간 인과관계를 추론하여 응답해야 하는 재인 과제에서, 각 문장이 들어있는 두 개의 상황 모형을 통합하여 추론할 때보다 두 문장이 동시에 들어있는 하나의 상황 모형 내에서 추론할 때 재인이 더욱 짧다. 선형 소설 읽기와 비교하여 하이퍼텍스트 소설의 가장 큰 특징은 사용자가 다음 문단의 내용을 직접 정하는 사용자 참여 과제가 포함된다는 것이다. 이에 하이퍼텍스트의 사용자 참여 과제가 이야기의 상황 모형을 구현하는데 영향을 미치는지를 재인 과제 응답 지연 시간 및 정확률로 측정하였다. 하이퍼텍스트의 사용자 참여 과제는 이야기의 내용과 연관성이 강하면 인지적 몰입을 강화하겠지만 연관성이 약하면 이야기 이해를 저해할 것이다. 사용자 참여 과제의 내용이 다음 문단과 연관이 없다고 느낄 때 본 과제는 두 문단으로 이루어진 하나의 상황 모형을 각 두 개로 분리해 장기 기억에 저장시키는 역할을 할 것이다. 그러나 직접적 연관이 있을 때 사용자 참여 과제는 사용자의 응집적 읽기를 가능케 할 것이다. 이에 사용자 참여 과제가 다음 내용을 직접 결정하지 않는 지문을 사용한 실험 1에서 본 과제는 하나의 상황 모형을 두 개로 분리하여 이야기 이해를 위한 인과 관계 추론을 방해한다는 것을 알아내었다. 반면, 사용자가 다음 내용을 직접 결정하는 지문을 사용하는 실험2에서는 사용자 참여 과제가 있는 하이퍼텍스트 구조가 선형 구조 조건보다 사용자의 응집적 읽기를 더 가능케 한다는 것을 알아내었다. 본 연구는 하이퍼텍스트의 인지적 이점을 알아낸 것에서 가장 큰 의의를 지닌다. 또한 실험적 환경에서 하이퍼텍스트 소설에 대한 사용자 경험을 측정하고‘상황 모형’ 개념과 상황 분절 이론을 국내에 소개한 것에서 의의를 지닌다.

Hypertext fiction에서 사건 관계의 링크에 따른 이미지를 적용한 가상전시공간 디자인

송기선 경기대학교 건축전문대학원 2005 국내석사

하이퍼텍스트 구조가 가지는 속성은 비선형성, 다연결성, 무경계성이다. 이러한 속성은 링크의 특성에서 비롯되며, 하이퍼텍스트에서 링크는 동일한 노드내 한 지점 혹은 동일한 웹사이트 한 노드를 연결할 수도 있다. 그리고 한 노드로부터 여러 개 노드로 연결할 수도 있다. 이러한 링크 연결은 하이퍼텍스트 구조에 속성을 가지게 한다. 하이퍼텍스트의 구조적 특성상에서 이루어지는 디지털 공간의 컴퓨팅 작업들은 기존의 인식적 사고 체계속에서 자체의 프로세스를 통하여 가상이지만 현실과 연결될 수 있는 디지털 상에서의 능동적 공간 인식을 가능하게 해준다. 하이퍼텍스트는 비선형적 성격을 띠면서 작가와 독자 사이의 관계가 선형적일 때보다도 상호액티브적인 관계로 형성되어 질수 있고 따라서 그 관계 또한 이전의 방식보다 능동적일 수 있게 된다. 전시대상 또한 공간과 관람자와의 관계안에서 구현되므로 이들의 상호작용을 통해 관람자에게 물상적 실체 이외에도 미적, 지적 메시지를 전달하게 된다. 또한 전시공간은 하나의 언어적 공간 기호로써 취급되어야 하며 메시지 시스템으로 다루어져야 한다. 본 논문에서는 하이퍼텍스트의 사건전개 과정에서 관계의 링크에 따른 이미지들을 블러드 바운드리에 적용하여 공간적 기호로써 언어의 형태를 취하고 빛, 비어 있는 공간, 색채, 비례 등을 통하여 그 공간이 상대의 위치에 대해 상호적으로 커뮤니케이션하며 문화적 메시지를 전달 할 수 있는 과정을 연구하고자 한다. 하이퍼텍스트의 구조와 이러한 전시공간를 만들기 위해서 환경, 공간, 물건이 함께 만들어 낼수 있는 전시대상과 여러 사건 혹은 현상이 만들어내는 복합적 관계, 그리고 면밀히 계획된 우연성으로 전시공간이 구성된다. The attribute which the hypertext structure has is nonlinearity, seamlessness and borderlessness. Like this attribute is included from quality of link, the link one point inside the node which will connect the web site one node which is identical from hypertext. And from one node there is a water service which it will connect with a multi dog node. Like this link connection does to have an attribute in hypertext structure. The computing works of the digital space which becomes accomplished at structure quality of hypertext process of form lead from recognition school of thought inside of existing and it is a virtuality but spontaneous space recognition of at the digital it could be connected with an actuality it is possible and it does as a favor. The hypertext has is nonlinearity and relationship between the author and the reader compared to it is the linerity which formed with relationship of the interactive and there is that relationship also there is a more spontaneous one possibility method previously than consequently and a quality possibility. An exhibition object also it is embodied from inside being related with space and the spectator these interaction to lead, it is delivered an aesthetic, intellection message even other than the object entity. Also the exhibit space must handle, with one language space sign it does to come all with message system. At this thesis which from event development process of hypertext, it sees the form of language and it will apply the images which it follows in link of relationship in blurred boundary with the space sign it will take the space where there is a light and a empty space, a color and the proportion it will lead and that space against the location of relation it researches the process a culture message communication will do with mutuality. With structure of hypertext which makes like this exhibit space environment, space, the thing makes together and at the exhibition objects when there is a possibility of putting out and multi event the actual condition makes or and relationship of the composition which it puts out, and the exhibit space is composed with the contingency which is minutely planned.

A Cognitive Model of Knowledge Transformation in Authoring Hypertext

류지헌 Florida State University 2004 해외박사

The primary purpose of this study was to propose a grounded theory of knowledge transformation in the hypertext authoring process. More specifically, the present study attempted to answer the following two questions: 1) what cognitive processes are involved in knowledge transformation through hypertext authoring and 2) how are these cognitive processes interrelated. For the first question, this study identified cognitive components associated with the knowledge transformation. For the second question, this study explained how the cognitive components interact within a theoretical framework of knowledge transformation. This study was an inquiry-oriented research to investigate how learners transform their prior knowledge and what cognitive processes are occurring during the hypertext authoring process. Specifically, this study endeavored to construct a cognitive model of knowledge transformation by identifying what cognitive components constitute the knowledge transformation process and how they are structured as a model. Since there has been no systematic scrutiny of the cognitive processes of knowledge transformation in authoring hypertext, an inductive data analysis, a qualitative research method, is employed to theorize a cognitive model of how and/or what cognitive processes are occurring. This study set three stages to elaborate data collection methods and delineate the cognitive process of knowledge transformation in authoring hypertext: 1) Model Initiation Stage, 2) Model Elaboration Stage, and 3) Model Theorization Stage. These three stages compose the iterative model saturation process of this study, which was based on not only iterative data analysis and comparative analysis but also an evolutionary design approach. For the Model Initiation Stage, one Korean graduate student, who was majoring in instructional systems and enrolling in a southeast public university, participated to the initial stage. The purpose of the Model Initiation Stage was to build a preliminary model of knowledge transformation in authoring hypertext. The results of Model Initiation Stage revealed that there were two factors as causal conditions that determine the participant’s cognitive process. As a second cognitive component, it was observed that the participant was prioritizing key concepts to transform his prior knowledge. For a third cognitive component, it was identified that the functions of authoring tool regulated the participant’s cognitive process. The Model Elaboration Stage was directed by the findings from the Model Initial Model. Three Korean graduate students, who were majoring in instructional systems and enrolling in a southeast public university, participated in the Model Elaboration Stage. Five cognitive components were identified: 1) content knowledge, 2) causal condition, 3) internal modification of knowledge structure, 4) external representation by tool regulations, and 5) instructional knowledge. Finally, for the Model Theorization Stage six Korean graduate students participated. The outcome of the Model Theorization Stage identified six cognitive components and their relationships during knowledge transformation through an authoring tool: authoring goal, 2) content knowledge, 3) instructional knowledge, 4) preliminary modification of knowledge structure, 5) external representation by tool regulation, and 6) internal modification of the knowledge structure. Authoring goal was identified as to activate content knowledge and instructional knowledge. When participants were given the authoring goal, it activated what domain knowledge should be used for the content knowledge and how the knowledge should be organized for the instructional knowledge. Content knowledge played a role as a main resource to be transformed. Instructional knowledge was identified to an effect at an earlier stage of the knowledge transformation process. Both of content knowledge and instructional knowledge were coordinating for the preliminary modification of knowledge structure. After the authoring goal activated their content knowledge and instructional knowledge, participants were observed to begin to modify their knowledge structure for transformation. Yet, there was no mediation by the functions of an authoring tool, the modification of knowledge structure needed to remain a preliminary form of knowledge transformation. The main features of this preliminary modification of the participants’ knowledge structure occurred as the following sequence: 1) comprehension of the concepts, 2) adjustment of the participants’ prior knowledge of the concepts, and 3) configuration of the interrelationships of the concepts. External representation by tool regulation was identified to mediate the process of knowledge transformation. In order to externalize the modified mental representation, participants had to follow the authoring tool’s functions. Consequently, the changed mental representation needed to be altered by the ways an authoring tool allowed the presenting of knowledge. Then, finally, participants could complete internal modification of their knowledge structure with working together with the external representation by tool regulation. The results of this study proposed that there were two different types of knowledge searching process during the knowledge transformation through an authoring tool: 1) concept level knowledge searching process and 2) structure level knowledge searching process. Whereas the concept level searching process is employed for a conceptual understanding, the structure level searching process is used to understand the interconnectedness of concepts. The concept level searching process is activated at the moment a concept is understood, and the process is spread out through very limited numbers nodes of semantic networks. Thus, the knowledge searching process is limited node-by-node. On the other hand, the structure level knowledge searching process is activated to scan interrelationships among concepts, and the process is spread out across the chunks of semantic networks that consist of a set of nodes.

영상서사의 하이퍼텍스트 내러티브 구조와 상호작용성(Interactivity)에 관한 연구

김문희 이화여자대학교 정보과학대학원 2003 국내석사

상호작용이 가능한 새로운 매체로서 디지털 미디어의 발달은 단순히 정보의 디지털화를 넘어서, 우리 생활과 문화 예술 전반에 걸쳐 변화의 패러다임을 도출하고 있다. 이는 전통적인 영상 서사 방식에 있어서도 마찬가지인데, 인터랙티브 무비(Interactive Movie)란 상호작용이 가능한 새로운 영화가 나오게 된 계기는 인터넷이라는 쌍방향이 가능한 매체가 있었기에 가능한 것이었고, 인터넷 미디어와 이용자간의 커뮤니케이션을 보다 영화 속에서 직접적으로 가능하게 만들었다. 하지만 인터랙티브 무비는 PC의 하드웨어적인 기술 문제와 서사성의 완성도 미숙이라는 내용적 문제들로 인해 한계점에 부딪혔고, 영화 속에서 하이퍼텍스트 내러티브(Hypertext-Narrative)의 구현은 힘든 것처럼 보였다. 그러나 몇 편의 영화에서 볼 수 있는 하이퍼텍스트 내러티브적인 요소의 효과적인 적용 사례와 서비스 방식의 기술적인 진보를 통한, 인터랙티브 TV 와 같은 보다 강력한 상호작용 매체의 출현은, 영화와 드라마와 같은 전통적인 영상 서사 분야에 있어서 사용자가 스토리에 참여하고 이야기를 선택할 수 있는 하이퍼텍스트 내러티브 구조와의 성공적인 결합의 형태에 대한 가능성을 제시해 주고 있다. 따라서 본 논문에서는 첫째, 상호작용 매체의 등장과 이에 따른 표현 양식의 변화로 전통적인 이야기 방식에 변화를 가져온 상호작용성(Interactivity)의 개념과, 전통적인 내러티브에 대한 이해와 개념, 영상 서사 속에서의 내러티브의 특징을 고찰한다. 둘째, 하이퍼텍스트 내러티브의 개념과 상호작용적 특징을 그 구조적 측면에서 접근하고, 이에 대한 이해를 돕기 위해 하이퍼텍스트 픽션 작품의 구조와 내용적 특징을 살펴본다. 또한 영상 서사에서, 하이퍼텍스트 내러티브가 본격적으로 구현된 인터랙티브 무비의 특징을 작품의 예로 알아 본 후, 그 속에서 나타난 한계점을 살펴본다. 셋째, 하이퍼텍스트 내러티브 요소가 효과적으로 적용된 몇 편의 극영화 작품 분석을 통해 선형적인 영화 환경에서 하이퍼텍스트 내러티브 구조가 어떤 방식으로 적용되었는지 살펴보고, 또한 상호작용 서비스 매체로서 새롭게 떠오르는 인터랙티브 TV와의 접합점에 대해서 생각해 본다. 넷째, 이를 통해 최종적으로 하이퍼텍스트 내러티브적인 요소를 기존 영상 서사물에 어떻게 적용하여 인터랙티브 TV안에서 서비스할 수 있는지를, 전통적인 드라마 형식의 스토리보드를 만들고, 이를 하이퍼텍스트 내러티브 구조로 재구성한 '인터랙티브 드라마'를 통해 인터랙티브 TV에서의 서비스 아이디어를 제시하도록 한다. The development of digital media capable of interaction leads to changing paradigms in the ways of traditional narration. In other words, the established ways of one-sided narrative structure cannot highlight interactive media and realize two-way communications. In this context, hypertext narratives have come into existence, which are in concert with new ways of narration based on new media. They make it possible to engage in interaction, combining such traditional narrations as novels or movies with themselves and creating various new genres. Such attempts in the movie industry, one of the focal points of entertainment and the core of visual media, are worth paying attention to, and interactive movies applying story telling capable of interaction have made it possible for the users and media to directly engage in communication under circumstances consisting of computers and the Internet. However, the interactive movies have faced limitations due to problems with PC and a reduction in the perfection of narrations, and the materialization of hypertext narratives in movies seems to be out of the question. But there are several media, which show successful possibilities for hypertext narrative structures by allowing the users to participate in them: Some recent movies like "Sliding Doors" and "Lola Run" effectively applied hypertext narrative factors; Besides, the emergence of a stronger interactive medium, or interactive T V enables the users to make a selection of the possibilities of various story unfolding. If we are to make dramas and movies using the methods of hypertext narratives successful, we should work out the following problems: the problems with technology capable of making service possible; the problems with methodology for inducing the users to take active part; the problems with substantial creativity, or how to effect harmony between narrativity and interactivity. Therefore, this study is designed to work on this point by constructing interactive drama stories under real interactive TV circumstances. The narrative structure was based on irregular branch structure whose stories expand according to the choices of the users and partly on network structure. Devices for interaction involving the users' immersion include initialization at the time of wrong choice of paths in accord with reset shown in the narratives of games, the expansion of the users' participation in side stories, and the direct experiences of stories linked with their mobiles. The researcher regarded the duality of human mind such as inferiority, envy and desire for possession, trying not to lose the coherence of themes in the midst of hypertext narrative expansion. Consequently, the users can have seven kinds of choices and 6 kinds of results. This process has caused me to realize that it is really difficult to construct stories by adjusting causality and selectivity. In this respect, this researcher is subjected to limitations. The future researches in this field will hopefully contribute to the development of hypertext narrative dramas and movies within the medium of interactive TV as a competitive genre like traditional image narrations.

하이퍼텍스트를 이용한 생활정보DB 설계 및 구현

강호식 崇實大學校 情報科學大學院 1996 국내석사

An Analysis of Interactive Multimedia/Hypertext Project "The Seven Broken Seals" Based on Derridean Theory

유민호 University of Western Sydney 2000 해외박사

"The Seven Broken Seals" is an interactive multimedia project which explores technology, narrative, memory and time. This project incorporates innovative approaches to the use of the spatial qualities and interactive behaviours of hypertext by combining a wide spectrum of genres ranging from poetry, to documentary photography, sound, film, visual imagery and written text. "The Seven Broken Seals" deals with how memory (the author's) can be considered as a form of hypertext. It is also concerned with the way in which any experience of narrative is effected by the structure of representation through interactive technology. This project constructs a densely woven fabric which is constantly on the move and interacting with the viewer. The work uses a heptagon-shaped web structure, which not only creates multiple sequences in 'audience path reading', but also situates the work within a framework of inter-determinacy. The reader or interactive viewer of the work is offered a variety of choices and pathways that sormetimes double back and repeat, simulating memory functions. "The Seven Broken Seals" explores how the use of interactive multimedia can provoke or increase and amplify interactivity and multiplicity of readings. The intrinsic structure of the work comprises of multiple pathways and portals intended to encourage the participation of the audience to follow or choose various directions which flow through and across the surface of the work. Delayed reactions, repetition, and looping imitate the way in which the memory functions under certain conditions, as well as make for devices found in postmodern narrative structures. "The Seven Broken Seals" involves a number of research areas, namely hypertext, narrativity, autobiography and interactivity, which are brought together in this original form. This thesis focuses on a discussion of hypertext or hyper-textuality within "The Seven Broken Seals" in relation to the two aspects: interactivity and multiplicity. The poetic adaptation of Freud's Mystic Writing Pad is the departure of the discussion. Freud used this pad to explain how human memory works in the dynamics of writing a text onto the surface of a wax slab. In the process of this writing of texts on the wax slab, a text can make an impression; however, it is constantly erased and replaced by another text. By clicking a hyper-text (link), the text disappears. The surface (or the computer screen) is momentarily clear, but is subsequently replaced by another text. Nonetheless, the traces of the previous text may remain with the audience interacting with following texts. The process requires an audiences' active participation to define a personal path. In choosing a path by clicking hyper-texts (links), an audience will depend upon the interaction or the interactive relation between sensory texts and their senses. These processes involve psychical (emotional or intellectual) and physical (tactile or kinaesthetic) interactions. Like an imaginative onion which reveals nothing but identical skins even when it is completely peeled, "The Seven Broken Seals" has a homogeneous characteristic within its structure. At the beginning of the peel-off, it seems there is something in the centre (a kernel) for it appears to have a source or seed. However, what is left at the completion of the peel-off is nothing but further homogenous skins-skins with almost identical structures. Since the skins have been peeled and scattered, it is difficult to reassemble them in any order, or to distinguish the beginning, the body and the end. This structural design generates the possibility to anticipate a reading of the work. The homogeneous structure would not fail to lead an audience to somewhere while presenting a sense of curiosity in the process of peeling, stemming from its non-linear structure. When an audience takes a journey through an interactive multimedia work, the audience can move between one text and another in order to experience the work. Through an involvement in this movement process, the audience (or the audience-participant) will interact with different texts. If every text is identical, the movement can be meaningless. The dynamics of text relation create movements in which one text is constantly superimposed with (or replaced by) another. The process of replacement requires supplementary texts since one text does not complete an entire communication process. Differance is a term that signifies the necessity of difference between texts, and that of supplement. It describes the constant movement throughout a text creating traces and erasing them in a process of replacement by supplementing with other texts. Derrida eludes to "picto-ideo-phonography", as a way of conceptualising texts which can overcome logocentrism in semiotic practice. Picto-ideo-phonography is not based on the dialect of the signifier-the signified, but a principle of signature. In order for common nouns to become a signature, they have to be distinguishable as well as identifiable. A signature is meaningful when it is distinguishable from other signatures (countersignatures), and is identifiable for the signer (the referent). A signature should be different from others in order to be authentic and to identify the signer (the referent). Then, these Derridean notions are agglutinated with other theoretical perspectives. Derrida's idea of picto-ideo-phonography is grafted with Barthes' concept of "the non-coded message"^1 in discussing the system of denoting and connoting messages of "The Seven Broken Seals". Furthermore, Derrida's notion of differance is agglutinated with Bergson's concept of "the space covered and movement"^2 in order to elucidate the effects of movement that are produced by the interactive multimedia texts, "The Seven Broken Seals". When an audience moves from one text to another by using his/her cursor, the movement changes what is on the computer screen as well as the existence of him/herself: they become a participant and empowered to act, as opposed to a passive audience. Bergson had to wait for the sugar to be dissolved without stirring it with a spoon, because then, it will change the qualitative of the sugared water, including the glass. What the audience changes is not only what is on the computer screen, but also the qualitative nature of the whole; thus, the action of the participant transforms the nature of the texts from "the space covered (the set or the immobile sections of movement)" to "movement-texts(mobile sections of duration)". This discussion on movement-texts suggests that patterns can exist through a trajectory of movement from one text to another. In other words, the relational movements between texts and the participants work in patterns of behaviours, performed through the dynamics of the participant's breaching and his/her act of leaving (in the trajectory of moving from one text to another). This patterning can be also understood as a process of 'cut and paste,' since the participant has to cut (from one text and move) to another text in order to see what awaits, by pasting other texts. Subsequently, the impression of the previous text has been cut and absorbed by his/her memory; simultaneously pasted as traces in the clipboard of memory. In this context, the nature of collage can be understood as hyper-collage. As the prefix, hyper, suggests, hyper-collage is over-collage. It is an expression for something superfluous. It is similar to something, but not exactly the same. In this sense, hyper-collage is quasi-collage. But, the significance of hyper-collage lies in the fact that it is a metaphoric term, which explains the nature of interactive multimedia texts; weaving sliders-texts that can slide in order to weave the whole body of work. If the dynamic of cut and paste movement occurs in sequential texts, it becomes a process of hyper-montage construction. Hyper-montage must be built by participants because the process of building the sequential texts needs to be performed by participants' mouseclicks. Unlike filmic montage, hyper-montage can possess any frame speed-a still picture of hyper-montage can exist as a single frame or it can contain a number of sequential pictures at different frame speeds. In fact, this somewhat superficial capacity of frame speed entails important characteristics of hyper-montage; the frame speed of hyper-montage can be designed to be controlled by the audience. In other words, hyper-montage can be programmed to wait for the mouse-click of a participant and the person can leave the montage scene at any time according to his/her will. In this regard, it provides a Kaleidoscopic set of possibilities. One of the most important aspects of hyper-collage and hyper-montage is the fact that the dynamics of these patterns essentially require audience participation. The participant, who slides and weaves to interact, does not play a simple or passive role of the conventional audience but becomes part of the texts, the work, and the scene, the work cannot exist and move without the indispensable driving participation of the audience. Thus, the intention of "The Seven Broken Seals" is to examine the characteristic of interactive multimedia texts, which obscures the relationship between the audience, the art work and the artist. The traditional distinction between the three is blurred, as the role of an audience becomes that of a participant in this artistic process. Subsequently, this raises a question about the fundamental communication ground on which interactive multimedia art work is based. "Is the conventional relationship between the artist (the sender), the art work (the texts) and the audience (the receiver) still intact, even when the role of the audience is that of a participant and the work requires the participant's involvement in order to perform?"

작업기억 용량과 컴퓨터 기반 텍스트 양식이 텍스트 이해에 미치는 효과

김민선 연세대학교 대학원 2004 국내석사

HYPERTEXT를 이용한 BASIC언어교수법의 설계 및 구현

김영현 東國大學校 敎育大學院 1995 국내석사

Hypertext 기법을 이용한 학습 모델 구현에 관한 연구

신재구 啓明大學校 1996 국내석사