• Proceedings of the Korean Society of Computer Information Conference
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• 2013.01a
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• pp.213-214
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• 2013

본 논문에서는 다중화면 분할 제작 콘텐츠 효과에 대해서 제안한다. 다중화면 분할 영상은 기존의 단일 영상 제공에 비해 2개, 3개, 4개, 9개의 화면을 각각 분할하여 다양한 영상들을 제공함으로써 보다 풍부한 정보 제공과 영상의 화려함과 미학을 제공한다. 이와 반대로 여러 화면의 정보들을 동시에 제공함으로써 한 화면에 집중하지 못함으로 여러 다양한 정보들을 수용하지 못하는 단점도 있다. 그러나 단일 화면보다는 다중 분할 화면으로 다양한 정보를 제공함으로써 얻는 효과가 더 크다고 사료한다. 이러한 다중화면 효과는 시청자들에게는 더 흥미로운 영상으로 충족 될 것이라고 사료한다.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.325-333
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• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.

• Archives of design research
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• v.12 no.3
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• pp.83-91
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• 1999

In the late 19th century, the desire for pursuing new arts and aesthetics was evolveld and developed in various aspects in europe, and it appealed the characteristics of renovating society such as the arts and crafts movement in England. Vienna was developed in the center of the European empire under these environments, and provided the background as the main center for young artists. Vienna Art Nouveau blossomed under the mind of art pioneers that is "all arts are equal" and the Viennese political, economic, and cultural environments. They tried to show people new aesthetics under the mass-production by accepting machine. The goal of this study is to search the Secessions's role and the environment that make the base of modern aesthetics and differentiate from other Art Nouveau movements in Europe and to verify the meaning and value of that.

• The Research Journal of the Costume Culture
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• v.25 no.1
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• pp.48-63
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• 2017

When digital media and images are combined, their significant sociocultural impacts can be exercised. Therefore, this study analyzes digital images shown in such trends of digital media compared to the digital fashion from an aesthetic perspective. Research and empirical studies are focused upon to analyze the aesthetic characteristics of digital fashion. Digital Fashion comprehensively refers to fashion design using computers and software, and is considered as "Fashion Design utilizing Digital Technologies" including computer software and hardware perspectives, so that it may be renamed "Digital Fashion." The esthetic characteristics shown in the Digital Fashion defined above are analyzed according to how media philosophers conceptualize the digital image. First, from the perspective of creation, Digital Fashion Images are technical images produced by computers. Uncanny characteristics expressed through virtual images look more realistic than the actual ones used in experimental works of fashion designers. Such virtuality dynamically expresses various colors and fabric patterns through lights using digital technologies that do not yet exist in cloth form, rather in a non-material form of dynamic virtual imagery. Digital fashion images on monitors express digital fashion designs by shaping virtual images through 3D printing. Second, Digital Fashion Images from the perspective of acceptance are created through deconstruction, while fashion has only been previous viewed visually, Digital Fashion delivers immersions of visual touches as if directly experienced for accepters. Digital Fashion will continuously develop and become more influential as it converges with digital media.

• The Korean Journal of Archival Studies
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• no.64
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• pp.27-62
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• 2020

The article has the characteristics of a preliminary writing about how to look at the trend of new archives 'fever' and 'impulsion' emerging around the domestic and foreign art world, which have not been paid much attention yet in the 'mainstream' archive research, and how to accept it independently. Specifically, this study aims to examine how archival art is involved in history and memory with aesthetic attitudes and methods through observation of recent tendency of domestic archive art, and what implications or influence the 'archival impulse' phenomenon in the art world can have on the research trend of 'archival studies.' First, I would like to look at the meaningful movement to reinterpret and actively accept archival impulses in concrete overseas cases, that is, the archive system of a public archive in the United States. This is followed by an attempt to explore the characteristics and characteristics of creative works that are carried out through the medium of archives, that has not yet reached the level of organization of specific archive methods but are sporadically attempted in the domestic art world. It examines how so-called 'archive artists' record unrecorded in a way that is not observed in the existing archival world, and how they summon and include excluded history in aesthetic language. In conclusion, this study explores the possibility of pulling the historical records of tradition out from archival boxes and reinterpreting them as living archives within the contemporary emotional structure from this new artistic trend called 'archival art'.

• Cartoon and Animation Studies
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• s.22
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• pp.31-45
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• 2011

The paper holds its purpose to analyze the descriptive function and meaning of first person animation which the focalizer, character, and all narrators are indicated as 'I', For the purpose, the following was reviewed; the relation between 'I' as child memorizing the days of childhood as adult and the current 'I' as adult, and the aesthetic effect of experience and sense of the child on the audience reading the narration. The retrospective narrating situation of the adult narrator brings descriptive effect which comes from 'the tension between the experiencing self (self as child) and the narrative self (self as adult). The works focus on the content of child experience through the confession of the adult narrator, but the view of the adult always heading towards 'the present'. That is, the aesthetics contained by the first person narrator is related to endless arousal of the values of hidden and forgotten things. In addition, the descriptive method of child focalizer as 'the subject of experience' brings qualitative change which enables reasoning of the subject as itself, which is free from the view tamed by rational system. Becoming an adult, the lost ability of mimesis brings qualitative change by meeting with the generality of childhood sense. Therefore, it can be known that the meaning the narrator contains in the first person narrator condition of animation links with the degree of aesthetic completion of the work, but also, it is a highly strategic descriptive device which determinately affects even the acceptance of audiences regarding the work.

• Sijohaknonchong
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• v.24
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• pp.173-197
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• 2006

Works recreated modernly succeeding classics often appear in novels, plays and movies. Observing 'modern succession and transfiguration of classics', 1 became curious about 'recreation of classics' in Sijo genre, and in that interest this thesis begins the argument. I identified that many Sijo are recreations of classics, and also classical literature are continually being transformed into modern Sijo. Especially Sijo of Lee Guang-Soo in 1920s and Sijo of Cho Un In 1940s are pioneering works. Thereafter modern Sijo have been continuously recreated from classics. This paper is about what are the meanings of modern Sijo in this category, and how should they advance. Also this argument will indicate how Sijo will be created in the future. Transforming classics into modern works is a valuable task, because it succeeds traditional culture and connects the classics' age to the modem age. For example, the Sijo of Lee Guang-Soo and Cho Un have significance in terms of literature history. The problem lies in modern Sijo that is creatively experimenting with classics succeeding those. Many modem Sijo are created attaching too much importance to the technique of contents, not comprehending the structural principles and formal aesthetics of Sijo. Thus, Sijo that adopt classics modernly reveals the limit of creation. Furthermore, recreating Sijo with the original contents untouched has no meaning at all. From this standpoint, modern Sijo recreated from classics can be reasonable only when they reflect the life, culture. and reality of present and comprehend the formal aesthetics of Sijo.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• Archives of design research
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• v.13 no.3
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• pp.271-280
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• 2000

This is the deconstruction of functionism and means the complex phenomenon of disharmony such as the reputation of purity, search for history, irony and so on. The perceptional system of post modernist and deconstructionist philosopy, that allow us to have the critical angle of view such as the deconstruction of the existing foundation and the absence of the meaning of the reasoncentered thinking of the west, is shown to be grafted into design, fashion and so forth. These elements are taking root as the style of the end of the 20th century. The deconstructional fashion revolting against the existing regime has been reconstructed and created a innovative aesthetic sense by going so far as to address the way that doffing is formed, the way to handle materials and physiological and psychological elements. The deconstructional fashion depicted on new interpretation of the body proportion with planeness and specificity while ignoring three-dimensionality , structuristic rationality

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.96-108
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• 2015

The market of webtoon is expanding and the main users' acceptance environment of webtoon is changing from web to mobile. Among this phenomena, platform companies combined various digital technologies and a new user interface to the webtoon. The major directions of change in webtoon are applying multimedia effects and actualize the optimized form for the mobile environment represented by a smartphone. This study defined these types of webtoon as 'Webtoon 2.0' and built a separate concept from 'Webtoon 1.0' which means the early form of webtoon. Through this, we propose a new standard in classifying various types of cartoons that are sporadically serviced to users. Also, through experiments with users, we checked the current status of webtoon 2.0 and webtoon 1.0 by quantitatively measuring and analyzing the degree of user satisfaction with the current webtoon. Through this, this study suggest technical and aesthetic development application of Korean webtoon which is available to platform operators, writers and users.