• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.200-225
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• 2020

This paper, based on "Minhwa Chaekgeori" paintings from the collection of the National Museum of Korea, identifies and discusses fourteen similar works in domestic and international collections as products of the Seokdang workshop. First, the relevant paintings are identified as products of the workshop known as Seokdang (石堂, literally "stone hall") by the workshop's seal that is stamped on them. Second, analysis of the iconography indicates that the paintings were likely produced in the 1920s. Third, research on certain geographic names and addresses associated with this group of paintings suggests that they might not have been separately commissioned, but are rather examples of partially "ready-made" paintings. Fourth, the paper discusses how the designs of various cultural products in these paintings reflects contemporaneous changes in Korea's diplomatic and commercial relations, i.e., the decline of relations with China and rise of relations with the United States and Europe. Finally, a comparison of the Seokdang chaekgeori paintings with the popular chaekgeori paintings produced by Yi Hyeongrok and Yi Deokyeong in the early twentieth century provides important implications for the succession of tradition and innovation in visual culture.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Korea Construction Safety Engineering Association
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• s.45
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• pp.48-53
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• 2008

대통령자문 건설기술 건축문화선진화위원회가 이례적으로 건축물이 아닌 작품을 선정했다. 젊은 아티스트들의 작품을 전시. 판매하고 다양한 공연도 펼치는 홍대 앞의 명물 '프리마켓(www.freemarket.or.kr)'이 바로 그것이다. 일상 예술창작센터가 운영하는 프리마켓은 생활창작 아티스트 100여명이 만든 예술성을 지난 독창적인 생활용품과 장신구 미술작품 등을 전시 판매하는 곳으로 홍대 앞 어린이 놀이터 '홍익어린이공원'내에 매주 토요일 오후에 운영도는 거리 마켓이다. 유럽등지에 성행하는 Flea market(중고물품이나 생활용품을 교환 매매하는곳)과는 완전히 다른 개념인 free market 즉, 창작품과 창작행위가 펼쳐지는 예술시장인 것이다. 따라서 이곳을 찾은 외국인들은 그들 나라에서 보아왔던 Flea market로 착각하는 일도 흔히 발행하기도 하지만 어쨌든, 도심 속 외진 곳에 버려질 뻔했던 공간이 새롭게 태어나고 있는 점에서 매우 관심을 갖게 하는 곳이다.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.28 no.1D
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• pp.129-136
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• 2008

Along with the development in cutting-edge digital technology, the street space is also being changed. Mobile telecommunication units and internet give a big change in a human being's lifestyle. And the ubiquitous computing is proceeding with expanding its application range from the indoor space to the street space. As the street furniture is the convenient facility that allows a human being's life in street space to be abundant, it is getting advanced. First of all, in terms of such phenomenon, this study analyzed the cases of a research on application of street space and the actual condition of a change in the number of individuals for the street furniture, through a literature research of ubiquitous. Also, it researched into the realities of using the street furniture of the walking-desired streets at Daehac-ro and Hongdae district, where are two representative places related to digital generation. The next was carried out FGI (Focus Group Interview) with users of the street space in front of Hongik University and managers of the street furniture, and was researched into the use & management behavior, and recognition level on the street furniture. Thus, the key elements were extracted such as interchange of information for cultural activities, automation for interaction variability in function. Finally the core elements for future vision of street furniture in this digital era were extracted in 3I, namely, Information, Intellectualization, and Integration. This is considered to be applied to the establishment of direction in the process of high-tech digitalization in street furniture related to information hereafter.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.33-52
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• 2022

The History and Culture Park and the Lee Kun-hee Donation Hall will be built in Songhyeon-dong, Seoul. Political games from the Joseon Dynasty to the present greatly influenced the historicity of Songhyeon-dong. However, place analysis was limited to changes in landowners and land uses rather than a historical context. Therefore, this study analyzed the context in which the placeness of Songhyeon-dong changed according to the emergence of cultural hegemony using the perspective of modern cultural geography and comparative history. As a result of the analysis, cultural hegemony in historical transitions, such as Sinocentrism, maritime expansion, civil revolutions, imperialism, nationalism, popular art, and neoliberalism, was found to have created new intellectuals in Bukchon, including Songhyeon-dong, and influenced social systems and spatial policies. In this social relations, the placeness of Songhyeon-dong changed as follows. First, the founding forces of Joseon created pine forests as Bibo Forests to invocate the permanence of the dynasty. In the late Joseon dynasty, it was an era of maritime expansion, and as Joseon's yeonhaeng increased, a garden for the Gyeonghwasejok, who enjoyed the culture of the Qing dynasty, was built. Although pine forests and gardens disappeared due to the development of housing complexes as the population soared during the Japanese colonial era, Cha Gyeong's landscape aesthetics, which harmonized artificial gardens and external nature, are worth reinterpreting in modern times. Second, the wave of modernization created a new school in Bukchon and a boarding house in Songhyeon-dong owned by a pro-Japanese faction. Angukdongcheon-gil, next to Songhyeon-dong, was where thinkers who promoted civil revolution and national self-determination exchanged ideas. Songhyeon-dong, the largest boarding house, served as a residence for students to participate in the March 1st Movement and was the cradle of the resulting culture of student movements. The appearance of the old road is preserved, so it is a significant part of the regeneration of walking in the historic city center, connecting Gwanghwamun-Bukchon-Insadong -Donhwamunro. Third, from the cultural rule of the Government General of Joseon to the Military Government, Songhyeon-dong acted as a passage to western culture with the Joseon Siksan Bank's cultural housing and staff accommodations at the U.S. Embassy. Ancient and contemporary art coexisted in the surrounding area, so the modern and contemporary art market was formed. The Lee Kun-hee Donation Hall is expected to form a cultural belt for citizens with the gallery, Bukchon Hanok Village, the Craft Museum, and the Modern Museum of Art. Discourses and challenges are needed to recreate the place in harmony with the forests, gardens, the street of citizens' birth, history and culture park, the art museum, and the surrounding walking network.

• Archives of design research
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• v.20 no.1 s.69
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• pp.65-78
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• 2007

The mobile phone and wireless network, location based technology and other newly introduced technologies and communication media gave birth to the new terminology "ubiquitous" and are changing our daily life. Influence of such technologies and communication media is not an exception in the arts. New media art pieces using these technologies are increasing, and taking on the characteristics of public art within a wider scope of a city as a backdrop, beyond the traditional boundaries of art galleries. Of such art, locative media art using locative media has a closer relationship with city space than any other form of an, and makes various attempts to allow the spectator to reinterpret and experience city space and induce communication. These characteristics of locative media art can be considered as a method that can solve quality problems of the city space, especially the loss of the sense of place and the absence of communication. is one such locative media project with a purpose of solving quality problems of city space, especially the recovery of commercial sites and inducing communication. This project uses the paths of the city as its canvas, movement of people as its brush, the color of the roads as its pallet, and by allowing the partakers to draw paths of their own and to share their paths with others. People are encouraged to share stories about their paths. The project proceeds using barcodes that are frequently used commercially. When users wish to create their own place, they can enter their place and colors of their choice using input devices installed in the city space. Paths that are created through such a process will be displayed in public areas throughout the city, shared with others, and can create and share a stories about the city using on/off-line media.

• Journal of Science and Technology Studies
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• v.5 no.1 s.9
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• pp.1-30
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• 2005

In recent times, artists rely increasingly on science and technology, whereas scientists frequently use such an aesthetic tenn like 'eauty.' This shows that the gap between the 'two cultures' are narrowing down due to the necessity of both sides. The historical interaction between science and art has been extensively discussed by the historians of art and those of science. As the complexities of scientific and artistic practices were uncovered, similarities between them were also revealed. The goals of this paper, which explores the relationship and interactions between science and art, are the following three. The first is to bridge the gap between the two cultures (i.e., science and art) by disclosing the mutual influences between them. Second, drawing on recent works on the nature of scientific and artistic creativity, this paper aims to show some similarities and even common factors between scientific and artistic creativity. Finally, by highlighting similarities and common elements between scientific and artistic creativity, this paper will emphasize the role of imagination, insight, emotion and visualization not only in art but also in science.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.54-73
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• 2012

In this article, we examined the patterns of activities of the Sarmathians though in a humble measure, with a focus on the regions where the Sarmathian sheaths spreaded. One of the main weapons the mounted nomads like the Scythias, the Sarmathians, and the Alans used at war was a spear. Though complementary, a sword was the most convenient and appropriate weapon when fighting at a near distance, fallen from the horse to the ground. The Sarmathian swords continued the tradition of the Akinakes which the Scythias or the Persians used, but those of the Sarmathians showed some advances in terms of the easiness with which a sword was drawn out from a sheath, and the way the sheaths were worn to parts of a human body. It turns out that the Sarmathian sheaths, which were designed for the people to draw swords easily, having the sheaths attached to thighs through 4 bumps, spread extensively from Pazyryk, Altai, to South Siberia, Bactria, Parthia and Rome. The most noteworthy out of all the Sarmathian sheaths were the ones that were excavated from the 4th tomb in Tillatepe, Afghanistan which belonged to the region of Bactria. The owner of the fourth tomb of Tilla-tepe whose region was under the control of Kushan Dynasty at that time, was buried wearing Sarmathian swords, and regarded as a big shot in the region of Bactria which was also under the governance of Kushan Dynasty. The fact that the owner of the tomb wore two swords suggests that there had been active exchange between Bactria and Sarmathia. It seemed that the reason why the Sarmathians could play an important role in the exchange between the East and the West might have something to do with their role of supplying Chinese goods to Silk Road. That's why we are interested in how the copper mirrors of Han Dynasty, decoration beads like melon-type beads, crystal beads and goldring articulated beads, and the artifacts of South China which produced silks were excavated in the northern steppe route where the Sarmathians actively worked. Our study have established that the eye beads discovered in Sarmathian tomb estimated to have been built around the 1st century B.C. were reprocessed in China, and then imported to Sarmathia again. We should note the Huns as a medium between the Sarmathians and the South China which were far apart from each other. Thus gold-ring articulated beads which were spread out mainly across the South China has been discovered in the Huns' remains. On the other hand, between 2nd century B.C. and 2nd century A.D. which were main periods of the Sarmathians, it was considered that the traffic route connecting the steppe route and the South China might be West-South silk road which started from Yunnan, passed through Myanmar, Pakistan, and Afghanistan, and then went into the east of India. The West-south Silk road is presumed to have been used by nomadic tribes who wanted to get the goods from South China before the Oasis route was activated by the Han Dynasty's policy of managing the countries bordering on Western China.