실감형 미디어아트 전시에서 서사 단계·감각 연출·행위 참여의 복합 양상 분석 — 르 스페이스(Le Space): Beyond the Cosmos 사례를 중심으로 —

초록

(Background and Purpose) As digital technologies have increasingly converged with artistic expression, immersive media art exhibitions have evolved into experiential exhibition formats in which sensory staging and visitor participation interact. Previous studies have examined narrative stages, sensory staging, and behavioral participation largely as separate analytical dimensions. However, insufficient attention has been paid to the ways in which these three elements interact within individual exhibition segments. This study therefore proposes a segment-based integrated descriptive procedure, in which the three elements are first examined independently at distinct analytical levels and then integrated within the same segment. The procedure is applied to Le Space: Beyond the Cosmos to assess its analytical applicability and identify variations in the relational configurations of the three elements across exhibition segments. (Method) A qualitative single-case study was conducted. Primary data comprised on-site observations and photographic and video records, while secondary data included the official website, promotional videos, news articles, and online visitor videos. Triangulation was employed by cross-checking these two data sources. The analysis proceeded in two stages: an independent description of narrative stage, sensory staging, and behavioral participation, followed by an integrated description of the relationships among the three elements within each segment. (Results) The analysis revealed that differences among the five segments were characterized not simply by variations in sensory intensity, but by the ways in which sensory rhythms, behavioral participation, bodily posture, and gaze direction were integrated with narrative stages. Segments 3 and 4 both involved sensory staging at the response level, yet differed in their modes of participation. Segments 1 and 5 also shared relatively moderated sensory environments, but Segment 1 facilitated movement and entry, whereas Segment 5 suspended movement and directed attention toward retrospective viewing. These findings indicate that similar sensory conditions can produce distinct relational structures across segments depending on how narrative stage, sensory staging, and behavioral participation are configured. (Conclusions) This study moves beyond the separate description of narrative stage, sensory staging, and behavioral participation by proposing a procedure for systematically analyzing and comparing their interrelationships within the same exhibition segment. Its academic significance lies in demonstrating the exploratory applicability of segment-based integrated description through a single case. However, the findings are not intended to be generalized. Future studies should examine the reliability and applicability of the procedure through comparative analyses of multiple cases and inter-rater validation and should further investigate how relational structures across segments relate to visitors' cognitive, emotional, and behavioral responses.

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