• The Journal of the Convergence on Culture Technology
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• 제9권2호
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• pp.105-112
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• 2023

Attempts to embody the three-dimensional world into works have continued without distinguishing between the times and the media, and the purpose is to realize an immersive state rather than the reproduction of reality. It was considered that the flat screen, which is the medium that finally faces the viewer in digital media art, hinders complete immersion, and this study investigated and analyzed the cases of works that give a sense of reality of space beyond the limits of the screen. Using the results of the analysis to produce the work, it was found that the presentation of the realistic space and enhancing immersion in the digital media art field should be viewed not only as visual video content on the screen, but also as an installation suitable for the exhibition environment and the resulting space itself.

• Journal of Science of Art and Design
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• 제7권
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• Journal of Conservation Science
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• 제33권3호
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• pp.155-165
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• 2017

As interest in the public display of art and outdoor sculptures is increasing, the conservation and treatment of these sculptures is becoming increasingly crucial. Long-term exposure to the natural elements and atmospheric pollution can cause corrosion and deterioration in outdoor sculptures. In the case of Kim Chan Shik's "Feeling", which was exhibited in the outdoor sculpture park at the National Museum of Modern and Contemporary Art (MMCA), the patina of the sculpture was damaged during a long outdoor exhibition. Therefore, the treatment process was as follows: recording of condition, sanding, repatination, and wax coating. Consequently, the sculpture was restored similar to the original. Chemical analysis revealed that the sculpture was crafted from bronze and was cast from a quaternary alloy of Cu-Pb-Sn-Zn. The welding is lower in Zn, Sn, and Pb content than the metal used in the sculpture itself. Bright strains contain about 13.0 wt% Sn and 10.5 wt% Pb. The strains are higher in Sn and Pb content than the rest of the metal in the sculpture (7.0 wt% Sn and 4.4 wt% Pb). As a result of component analysis and microstructure observation, the material is estimated to have been made by casting without artificial treatment.

• Journal of Conservation Science
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• 제36권5호
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• pp.383-392
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• 2020

This study aimed to examine the characteristics of paint used for modern art works by conducting sectional observations, inorganic component analysis, and infrared spectroscopic analysis on the painted layers of 3 painted sculpture works exhibited in the Yongdam Dam Environmental Sculpture Park and Naejangsan Sculpture Park in the Jeollabuk-do area. The observations indicate that the cross section is composed of various layers of 2-3 folds, the thickness of the layers was uneven at approximately 23-150 ㎛, and putty was used for plate treatment prior to painting. Inorganic component analysis results show that putty containing calcium carbonate, iron oxide, diatomite, and titanium dioxide was used for the putty layer. It is also assumed that paint mixed with green (Cr₂O₃), blue(sodaliteblue), red(chromered), andwhite(TiO₂) colors were used for the painted layers. As a result of infrared spectroscopic analysis to confirm the types of paint, it is estimated that the paint was mixed with polyester resin and an extender.

• Proceedings of the Korean Institute of Interior Design Conference
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• 한국실내디자인학회 2003년도 춘계학술발표대회 논문집
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• pp.160-165
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• 2003

Art of today is expressed in various images incorporated in industrial development and visible in industrial parks, modern cities. Avant garde art and modernism brought abstract and conceptual art into conflict in the early 20th century and they absorbed elements of each other and grew into post modernism, which emerged in the 1960s and is still current. The avant garde challenged what was lofty and sometimes opposed modernism and sometimes fed it in cycles until post modernism was established. 'Trans avant garde', which, unlike modernism asserted individual expression, also appeared in the 1970s. Trans avant garde is spiritual art in which the artist's conversation with his soul returns. This study examines the readjustments the trans avant garde is making in its relationship with the dominant ethos of different values and offers the world art with important spiritual beauty. Trans avant garde art takes many forms, from thing to huge, which are manifested every where in architecture, interior design and everyday life.

• Electronics and Telecommunications Trends
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• 제19권3호통권87호
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• pp.107-116
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• 2004

지금까지의 정보통신 서비스는 사용자에게 필요한 정보를 제공하거나 사용자와 사용자를 연결해주는 통로로서의 서비스를 제공하여 왔으나, 유비쿼터스 컴퓨팅과 유비쿼터스 네트워크 기술을 기반으로 한 유비쿼터스 서비스는 사용자가 처한 상황에 기반하여 정보 제공은 물론 필요한 행위까지도 제공하여 사용자의 욕구에 가장 근접한 서비스 제공에 초점을 두는 컨시어지형 서비스가 될 것이다. 이러한 서비스는 사용자의 기호 및 상태, 또는 상황 등의 다양한 정보에 근거하여 서비스를 제공할 수 있어야 하며, 이를 위한 효과적인 접근 방법으로는 사용자의 다양한 정보를 각각의 대리자에게 처리를 하게 하는 멀티 에이전트 기술일 것이다. 본 연구에서는 음악이나 그림을 활용하여 신체적, 정신적 질환을 치료하는 음악 치료나 그림 치료인 Art-Therapy를 유비쿼터스 서비스의 구현 사례로 기술한다. 사용자의 신체적 또는 정신적 상태 및 환경 정보를 센서를 활용하여 측정하고 그 측정된 데이터에 근거하여 사용자의 상태를 판단하고 이에 따라 음악 및 미술 작품을 시청각으로 제공함으로써 치료 효과를 얻는다. 본 연구에서의 Art-Therapy 서비스는 FIPA에서 제안한 멀티 에이전트 기반 구조인 에이전트 플랫폼을 기반으로 구현하였다.

• Journal of Korean Library and Information Science Society
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• 제28권
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• pp.219-262
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• 1998

For many years art libraries have been concerned about the problem resulting from the addition of exhibition catalogs to general art collection. Those who work or research in the art field agree that exhibition catalogs are great value, and in many cases, the essays and documentary material contained in these catalogs may be the only source of information on particular artists. This paper contains two purposes. One is to settle the exhibition catalog as a specific form of publication in the library. In theoretical aspect, this material is handled in definition, form, historical development and the position and specification. Another is to manage exhibition catalog in the library. In practical aspect, this material is handled in aquisition, classification, cataloging and use.

• The Journal of the Convergence on Culture Technology
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• 제7권4호
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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.

• The Journal of the Convergence on Culture Technology
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• 제8권6호
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• pp.493-503
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• 2022

With the rise of epigraphy and textology, and the emerge of many famous outstanding clerical script masters, Qing Dynasty becomes another important innovation period in the development of the clerical script. Jin Nong and Yi Bingshou are two important clerical script masters in the Qing Dynasty. Thus, researches on the courses of their careers as well as a comparative study between these two calligraphers, Jin Nong and Yi Bing, are specially important. The comparative study of Jinnong and Yibingshou's clerical script is a relatively new subject, which is entered from the angel of comparative perspective between their clerical scripts works. Through an in-depth research on different inheritance routes, which are origin from Han Dynasty clerical scripts, of Jin Nong and Yibingshou, it is found that these two calligraphers are different in innovation of clerical script style, theory of calligraphy and of clerical script practice. This paper focuses on a comparative study of the different clerical theories and clerical script works between Han Dynasty, Jinnong and Yi Bingshou. A comparative study of clerical script works of Jin Nong and Yibingshou in Qing Dynasty provides a more comprehensive and in-depth understanding on these two calligraphers; meanwhile, it provides valuable learning paths for later calligrapher in the field of clerical script, and can be regarded as references in the innovation of the official script style.

• Journal of the Korea Convergence Society
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• 제11권4호
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• pp.165-172
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• 2020

The purpose of this study is to primarily explore the characteristics of 'irony' and focus on the process of visualizing it. 'Irony' is one of the rhetorics used to describe the context or situational aspects of writing. This 'Dépaysement' that appears in art history corresponds to 'ironic' rhetoric in writing. 'Dépaysement' is a combination of techniques, which conveys a message through de-familiarizing rhetoric. With the images conflicting with each other in logic on the same canvas. 'Dépaysement' and 'ironic' rhetoric have commonalities in that they produce a situation with opposite or contradictory images and obscure the images and the situation by distorting them into being different from what has usually been known. In conclusion, Ironic Characteristics and Visual technique elements of dépaysement are identical, this study attempts to understand the visual language by analyzing 'the visual irony' that appears in artworks.