• The Journal of the Convergence on Culture Technology
• /
• v.10 no.3
• /
• pp.635-641
• /
• 2024

Based on Merleau-Ponty and Lakoff's research on the inseparability of body and mind, this thesis seeks to explore the impact of experiences in multi-layered spaces based on media art on the understanding of human existence. The sensory experience provided by media art strengthens the viewer's physical presence and induces a new perception of reality by blurring the boundaries between reality and virtuality. Through this, it shows that it is possible to newly recognize and explore the deep relationship between human existence and the world. This paper analyzes how media art can be an important means of expanding existential experience through the connection between body and mind, and explains how the combination of art and technology contributes to ontological understanding.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.1069-1074
• /
• 2009

Public displays are evolving from a one-way display to an interactive medium which contains dynamic transition of various media. This study focuses on the interaction between human and digital technology-based art on public display from a HCI point of view, while several viewpoints exist on interactive public displays. We present a new interaction model which suggests different interactions depending on the viewer's distance and direction so that public display could offer rich media experiences. We have also and built an installation art to examine the efficacy of our interaction model. As such, we introduced two methodologies from HCI to derive our final interaction model. First of all, we analyze previous distance-dependent interaction models for public display in terms of context analytic approach, and propose an effective model for human-digital art interaction. Second, we introduce the concept of aura in HCI as user analytic approach to redefine interaction depending on the viewer's direction of attention. Thus, this study aims to suggest a new interaction model based on the previous two analyses to improve interaction between human and digital technology-based art on public display.

• Journal of Digital Contents Society
• /
• v.11 no.4
• /
• pp.503-511
• /
• 2010

While various artistic trends coexisting in the 20th century, media arts that formed with the medium of a material attempts in various ways to induce the establishment of the artwork through the public communication. The visual arts that use the media satisfy both the artistry and the popularity in the area of popular culture as the form of variable. Moreover, visual arts stimulate a playful sense of human to maximize the public satisfaction that works here. This paper aims to discuss the potentials and the trends in the contemporary art by understanding the conceptual and principle background of the contemporary media art which shows the active employment the playful sense of human nature in the work in order to establish the effective communication with the public. Consequently, as the digital environment and advanced network technology which were thought to be the key elements of the popularization of media art were reached its limit, media artist, Tony oursler's artwork which was created based on human playful nature and interactive artwork that supports the audience to interact with artwork and its space are proven to be the useful devises for the public communication.

• The Journal of the Institute of Internet, Broadcasting and Communication
• /
• v.23 no.6
• /
• pp.103-108
• /
• 2023

This paper conveys the limitations of analog natural history sample information in digital form, giving viewers interest and fun, and presenting the direction of digital diorama utilization of sample exhibitions. In this exhibition, through various media such as 10,000 won bill dramas and newspaper articles, the Sun and Moon and Five Peaks, a picture familiar to the public, was reproduced in media art so that it can be realized in real life. It is a Joseon Dynasty work in which five mountain peaks, a pair of waterfalls, and four pine trees are drawn symmetrically from side to side. In order to express the vividness of nature, the symbols of the sun and moon were created with the effect of light to maximize immersion, and animals such as waves, crane movements, deer, ramie butterflies, and carp were inserted under the mountain peaks to create the vividness of nature and creatures playing in them. The media art folding screen was produced and directed as a screen. In addition, the introduction of the work and information related to the living things in the work were provided through QR codes.

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2003.05a
• /
• pp.192-195
• /
• 2003

Digital art brought about first in 19s6s by Laposky Ben and became a area of new art. Also, digital art gives new possibility to systematize concept and actions in whole art and to invent some media which can carry the sense experience with space. However, reason that has often cynical meaning is appearing in preconception which technology falls off humanity. Because of digital technology, space production can become dreary, so it is necessary to sensuous production that connects digital with space which contains meaning of interior space. The purpose of this study is to find out spare which can be communicated from viewpoint of interaction through spatial substitution and characteristics of various expression production which have been involved newly in digital art area.

• The Journal of the Convergence on Culture Technology
• /
• v.6 no.3
• /
• pp.261-266
• /
• 2020

As pioneers of the early video art, Steina Vasulka(1940-) and Woody Vasulka(1937-2019) had lead not only their own experimental arts, but also entire changes of contemporary avant-garde performance, music, and visual art. Two artists invented and developed electronic machines for video image-processing by collaborating with engineers, and performed creative experiment on transformation of digital image. For them, video art is not just a means of documentation. The Vasulkas' artistic practices were not bounded by conventional canons and rules in art world, and preferably were parts of active aesthetic strategies for coexistence of vision of human and vision of machine. Particularly, their video art recognized the video as the key medium in an era where media technology began to dominate the system of communication, and established artist's authority over manipulation of moving image electronically without depending on video camera. In that regard, we can value on their video art. Therefore, the paper reflects on the Vasulkas' art and life which have not yet been studied, and suggests academic interests in the context of their artistic activities and aesthetic strategies.

• Journal of Digital Convergence
• /
• v.19 no.12
• /
• pp.383-388
• /
• 2021

Various works of art in a convergent form using new media technology Reflecting the attempted trend, this paper examines the footsteps of public art and Looking at the examples of works using new media art as an expression method of public art works, I suggest vr drawing as a new tool for public media art. The drawing performance using the vr drawing tool and the case of the vr realistic performance scarecrow, The vr drawing tool can infer the possibility of practical application as a new expression method of public art. This study uses a vr drawing tool among new media technologies in the future. It is believed that it will be a prior study that will help prospective creators. In addition, compared to the media status in the era of the 4th industrial revolution, art and If you think and analyze the future value of technology, I think it will be a meaningful study.

• Korean Association of Arts Management
• /
• no.59
• /
• pp.33-72
• /
• 2021

I intended to discuss the new phase of the publicness of museums in a digital environment with the Goole Arts & Culture Project. To this end, I critically examined the instrumental approaches and technological optimism in the application of digital technology to museums, and scrutinized the recent museological issues, particularly the revision or curtailment of the museum's publicness amid the spread of neoliberal policy, which have been omitted within those technological approaches. This is because the meaning of Google Art & Culture can be considered more effectively through an extended theoretical reconstruction. Based on these theoretical discussions, I critically reviewed how the "non-profit," an important concept that defines the publicness of museums, was adopted and utilized as an business strategy by Google. As a result, I wanted to reveal that the neoliberalization of museums, the failure of the government's public function, the crisis of museum's publicness, and Google's "non-profit" strategy have been closely related. Armed with advanced digital technology, the GAC project appropriated the publicness of museums as a useful profit-making model. As such, now the concept of publicness of museums is at a point of more controversial and radical transformation than ever before.

• Korea Information Processing Society Review
• /
• v.18 no.4
• /
• pp.26-34
• /
• 2011

• RED RIBBON
• /
• s.72
• /
• pp.46-49
• /
• 2006