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

• The Science & Technology
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• no.9 s.460
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• pp.96-97
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• 2007

• The Science & Technology
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• no.8 s.459
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• pp.104-105
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• 2007

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.196-206
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• 2011

The development of projection technology produces series of discussions associated to various form of visual immersing possibilities by the way of projecting image directly to the obscure surface surrounded us. Besides, the significance can be found in terms of that this kind of image projection offers chance to citizens to enjoy high standard images and makes people consider media environment of city. Video art as the digital technology grafts penetrates formative space of city by projecting images. The certain thing about questions how the media has status in city is that media is now not existing for self neither for abstractly and virtual reality is existing in the general appearance of metropolis. This paper treats media environment of city and the meaning of image projection as from of video art in the city. It accesses about the meaning of video form visual art in big city- new reality, the virtual and the real, immersion and interactivity. And media reality of metropolis defines that there is not one major discourse in the gigantic text -metropolis rather they are different discourses each other simultaneously compatible in the gigantic text -metropolis and in fact, they affect each other and interact.

• Journal of Korea Multimedia Society
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• v.10 no.11
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• pp.1507-1515
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• 2007

Many people have already mentioned the works of the Video Art. This is the age, video image is not a particular thing. We should not follow easily those things having been studied by a lot of people again. However, nowadays after he passed away, they voice their opinions that we should reanalyze his works properly. Therefore, it may be not new to make video image a subject of discussion. However, this study intends to look into the works of Paik Nam June once again from a new aspect that no preceding researchers did not pay much attention. It will be the main theme of this study to try to discover the expansion of nature and educational effects through technology by analyzing his works from another aspect as one person who lives in the age that video image is no more special.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.101-106
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• 2019

This paper considers the historicity and aesthetical implications of in the art world of Paul Ryan(1943-2013) who designed the aestheticization of relational circuit of society by realizing the value of social transformation being inherent in video with cultural practices and suggesting the interdisciplinary method of leaning and research in the early video art history. To do this, in Chapter II, I review the first artwork presented firstly in the art gallery exhibition "TV as a Creative Medium" in 1969, in which Ryan proposed a video medium as a communication system and experimented the concept of 'feedback' in Cybernetics. And Chapter III focuses Ryan's discursive activities contributed to magazine Radical Software and artist-collective Raindance Corporation with growing interest in communication technology. At this time, Ryan regarded video medium as the tool for cybernetic expansion. Finally Chapter IV deals with the development of ecological method based on "a shared perception of environmental realities" and verifies Ryan's vision that video medium would be most effective means of social change and communication.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.153-167
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• 2011

This paper critically examines the evolution of Nam June Paik's self-contradictory art philosophy. While the existing literature tends to slight it, Paik's works of arts remain fraught with contradictions: Paik has proved prima facie avant-garde an artist; however, as the scale and form of his works have developed, the prophetic, path-breaking philosophical underpinnings of his arts evolved to become more conformist. The present paper aims to shed light on the understudied and underappreciated side of Paik's accomplishments in order to come to a fuller understanding and appreciation of his arts and his legacy.

• 한국게임학회지
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• v.9 no.1
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• pp.15-23
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• 2012

In this paper, studied about an effect in motion graphics to make video game contents projects. Using the motion graphics to make video game contents projects was applied with various effects. The effects in motion graphics is divided in two ways that moving effects and a motion image effects. The various effects of motion graphics extremely increases the effects of the video game contents projects. The various effects in the motion graphics, expects to be applied in the video game that can be more developed creative in video arts.

• Cartoon and Animation Studies
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• s.48
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• pp.271-310
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• 2017

This paper examines the composition and the content of media art which is an art education subject in a national curriculum of Australia; and discusses implications for Korean education curriculums. Media covered by Media Art subject in Australia are the multi types of general media including TV, movie, video, newspaper, radio, video game, the internet, and mobile media; and their contents. The purpose of ACARA's media art education curriculum is to improve creative use, knowledge, understanding, and technology of communication techniques for multiple purposes and the audiences. Through the Media Art subject, both the students and the community are able to participate in the actual communications with the rich culture surrounding them and to develop the knowledge and understanding of the 5 core concepts of language, technology, system, audience and re-creation while testing the culture. The implication of this study is as the following. ACARA's media art education curriculum has been developed as an independent educational program and has a special significance within Australian education curriculums. Although ACARA's media art education curriculum is formed as an independent subject, it is suggested within the curriculum to instruct in close connection with other subjects upon execution. Its organization and elaborateness in curriculum composition are very effective in terms of the teacher's teaching-learning design and as well as the evaluation. This seems to show a good model of leading media literacy curriculum. ACARA's media art education curriculum can be a great reference in introducing media literacy to Korean national education curriculums.

• Journal of Korea Game Society
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• v.11 no.2
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• pp.29-37
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• 2011

As a field in Digital Arts, interactive video introduced the mirror metaphor to the foundation of media, given its characteristic as a medium that extracts an audience image in a particular perspective. The interactive video work introduced in this paper addresses conceptual topics in the extension of Zhuangzi's Butterfly Dream and illustrates the technological approaches that employ an intensity-based computer vision processing in order to obtain the silhouette of audience for multiple graphical butterflies to draw an audience image. Users generate narratives in the interaction with the projected image. Sound is used in order for the system to provide augmented perception in the space and to add more rooms for narratives. The computer vision and the graphics methods introduced in this paper are suggested as tools for interactive video.