• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.309-323
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• 2006

Before the appearance of luc-media image, art is performed by the hands of man. That was the best of the reality and the absolute standard of reality. However the appearance of luc-media image brings together the scientific thoughts on realism, which gave birth to 'impressionism' where 'light' becomes the most important part in art as well as in luc-media image and analyzed scientifically. In this paper, I'd like to analyze 5 paintings of Monet, a representative of the impressionism, chronically and present the various aspects of luc-media image as follows; 'picture the present moment', 'picture the light', 'picture the sound and movement', 'picture in the several frames', 'picture continuous frames'. These image phenomenon presented in this paper are mainly concerned with the photograph image, because the time when impressionists entered the stage was the age of photograph image, accordingly there are a little difference from digital image.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.345-346
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• 2013

Painting and Photography have been developed by exchanging the influence mutually as a new expressive form of art, and the medium and the genre in terms of formal experiments. Variety of artistic fields such as theater, film, art, photography, literature, dance, music abuse the idea of Interdisciplinary Art in the name of art via digital process based hybrid media arts.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.303-311
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• 2011

For us who live in the 21 century, a variety of media and videos such as TV, movies, magazines, internet, etc. have now become indispensable entities. Because of changing age, unlimited sharing of information, and development of machines, fashion and ideas are rapidly conveyed and theres is also a tendency to seek after more sense based and stimulating things. Around us, there are innumerable colors which do not seem to have any special presence like the air and go beyond human ability to identify them. Such colors exert direct influence upon the visual culture and most rapidly reflect that age's trend. It is precisely from this perspective that the importance of neon colors, which have recently received the spotlight, have emerged in a magnified way. Yet, although much research has been conducted on colors by earlier studies, there has been no research on neon colors and as such, I felt the need for a study of neon colors. The purpose of this study is to recognize the importance and psychology of colors within the visual culture, discover whether there is a correlation between the characteristics of neon colors and the visual culture, and seek ways to demonstrate it by applying it to art education.

• Journal of Creative Information Culture
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• v.7 no.4
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• pp.197-206
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• 2021

This study is a case of convergence education using the AI model of entry in elementary schools. The subject is English, and the class was conducted based on the image learning model among the convergence activities with the art department drawing and the AI model of the entry. In order to effectively achieve the learning goals of speaking and writing in English education. The class was designed by combining art and SW. Students experienced communication using AI, improved confidence, and were able to improve creativity and communication skills by expressing not only listening and speaking but also expressing through various media such as pictures and photos. In addition, in order to find out the effectiveness of the class, a survey was conducted on students and the results were analyzed. As a result of the analysis, it was found that it had a positive effect on students' participation rate, degree of understanding AI after class, interest in AI, satisfaction with AI classes.

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Cartoon and Animation Studies
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• s.46
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• pp.207-231
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• 2017

Printmaking is a field of fine arts and is placed on a vague boundary that is perceived as a commercial product with a popular character due to the speciality of editions. Advances of modern science and technology has developed a new technique of printmaking, and the fusion of printmaking and computer has shown the possibility of reproduction art. Reproduction printmaking has been heavily influenced by photography and extended areas, and the various forms of printing have brought about many changes and attempts by stimulating the possibilities of indirect art at various angles. As the history of printmaking and technology closely relate, the development of computer makes widespread expansion of plural artistry, technological and artistic change. A new conceptual shape can be created on the copied image simply by placing the material of the print on the smoothly flat surface expressed in digital form. The process and the result of such work show the area of unique work which is different from the value of the $\grave{a}$ la carte art or the characteristics of the material given by the print. The deprecated perception of reproducibility evaluated the value of the work in a direct sense of printmaking. It is undeniable that it is devalued by a bundle of works regardless of the value of each edition. However, the physical properties of the prints on the paper are brought up with hand drawings drawn on the canvas by hand. And it becomes an opportunity to show new aspect and change through the process of combining digital print information on paper. The diversity of media is sometimes a controversy of identity between art and technology. In the future, it should be discussed how the limit of the media which can be enjoyed in the field of art can be set as a standard.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• Journal of the Korean Society for Library and Information Science
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• v.48 no.2
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• pp.331-352
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• 2014

In this study, the picture book reviews shown in Korean periodicals were analyzed to provide the developmental foundation for picture book reviews and expand the professional area of librarians as the producers of book review. Through the literature research and the Delphi Technique the desirable standard of book reviews was suggested, the contents in domestic book review mediums were analyzed for the rightness of describing based on the standard of the book review and henceforward the way of development was suggested. The result from analysis of book review showed that the outstanding book reviews should be more produced based on the desirable standard of book review and the evaluative statements should be developed more than the descriptive statements. Depending on the mediums the contents of the book review were different by the book reviewers' occupations, so the book reviewers should develop their professional knowledges in literature and art. Because the longer book review made the outstanding book review with the rightness of the desirable standard of book review, the certain quantity of book review should be needed and the role of librarians as the book reviewers should be further extended.

• Cartoon and Animation Studies
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• s.13
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• pp.83-96
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• 2008

Digital production method in animation has enabled us to reconstruction the real world in the way we had sought in visual all. However, spectator's visual desire is not satisfied with mere photographic visual reconstruction. It demands traditional picturesque qualify with involves a great deal of contingencies and errors. Naturally, Digital film technology has also sometimes tried to simulate analogue technique such as hand drawing so on. This is not caused by nostalgia, but by recursive instinct. The spectator's visual desire for media doesn't remain only precision of real world but require mental demand on successive visual and perceptive errors while repealing ripeness of new media and going through perception and recognition. This spectator's desire and visual art technology pursuits variously its visual perfection in history.