| dc.description.abstract | Travel ban regulations and ban on gathering during the Covid-19 pandemic forced K-Pop
concerts to be canceled. To overcome the losses it created, online concerts are chosen as a
solution. Unfortunately, the digitization of this concert format created a lot of question marks
given by the audience. K-Pop online concerts are considered no longer to have the essence due
to being unable to bring together idols and fans in one location. The purpose of this research is
to prove that there are aspects instilled by the visual media apparatus in K-Pop online concerts
that have the power to liven up the concert atmosphere, provide a feeling of liveness, and, later,
be able to construct a concert space in the minds of its audience (doubling space). This study
uses data collection methods in the form of direct observations and in-depth interviews with
concert research objects such as Beyond LIVE, MUSTER 2021: SOWOOZOO, and Permission
to Dance. The study found that: (1) K-Pop online concert liveness provides a feeling of
engagement and presence from three aspects: immediacy of real-time video, live-chat, interface
calls, and VCR clips; credibility of the subject of the spectacle by the sound-check session; the
attraction of impressions from stage forms, multiview cameras, and sync play service; (2) preconcert
ticket buying practices, enjoying euphoria, and interaction of fellow fans in concert
create a double-room construction; and (3) there is an ideology in the product of liveness and
double space, which has an effect in breaking down barriers of distance, space, and finance, so
that concerts are transformed into everyday and everywhere concerts with the universality of the
audience and the fandom’s unity from their interwoven interactions. | en_US |
