• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.110-117
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• 2006

With the New media of present age we are living at, strongly entice consumers through various sensible technology and give influences on our life. They are visually formed but make us feel them as if formed tactile. The masses of today are meeting media through all the senses in daily life according to the spread of on-line media and in such course they want momentary and tactile share. Since appearance of mass society and cinema following such current, art has appealed to dispersive and tactile perception, and such public way of perception makes it possible to experience 'visual tactility' in daily life in accordance with the development of on-line game culture among others. The shock effects, given by editing of game animations which are produced for epic experience of on-line game, arouse tactility in addition to visibility. Under this assumption and on the basis of visual tactility theory as well as montage theory of image by Walter Benjamin, the research intends to explain that public tactile shock does not result from simple graphic effect but from montage effect and dispersive acceptance.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.5 no.5
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• pp.59-68
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• 2015

Since interdisciplinary convergence could beyond the borders of each disciplines, it is able to create new and meaningful knowledge through collaborative research between different study areas. Especially, in recent years, the Digital Humanities has attracted the attention as the convergence form of the Humanities and ICT. From a research methodology perspective, the Digital Humanities is a tool that can be used as a convergence system for various information utilization such as storage, retrieve, share, and spread. In view of Information system, Digital Humanities has been constructed and used in a variety of systems. Among them, studies related to information visualization for the Digital Humanities have been actively conducted. To visualize data or information, various types such as images, multimedia, interface, and etc could be applied. In this paper, we analyze the cases of various information visualization in digital humanities systems, and propose a method to utilize them in the Humanities and Area Studies.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.8
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• pp.491-498
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• 2016

This paper proposes a visualization method that expresses users' MBTI personality types based on the categorization method called 'Big Five Personality Traits' and their representative celebrities' facial images. This system has significance for visualizing traits from texts to images effectively. The entire system is composed of making backgrounds to represent traits of each MBTI category using 'Big Five Personality Traits' and showing facial images of celebrities with corresponding MBTI personality types. First, 'Big Five Personality Traits' classifies 16 MBTI types into four categories and each of category traits lays the foundation to make background using visual elements such as colors and lines. Second, celebrities' facial images are substituted for the corresponding literal explanation of each MBTI type. By adjusting the color saturation, users can distinguish relationship between the types intuitively. As a result, this system enables users to take information for their own / opposite / similar MBTI types simultaneously.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.973-977
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• 2009

The article is based on the research of the he culture and has discussed the prospect and possibility of application of cultural element "He" in modern design through analyzing the Beijing Olympics'cultural element "He" from its Chinese character's changing forms to its connotation; and the application of the element "He" in traditional design as geometrical figures, homophonic usage, and some legends on it.

• The Journal of Art Theory & Practice
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• no.10
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.9
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• pp.412-419
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• 2019

Negative space in the discipline of art defines the space around and between the subject of an image. The use of negative space is an element of artistic composition, since it is occasionally used to artistic effect as the "real" subject of an image. In painting, it is a technique that negatively touches the background of an object to be expressed, so that it gives a feeling of unique texture and silhouette by touching unnecessary parts while leaving necessary parts. As in art, negative space in a design can also be useful to identify an image of infeasible design ranges with a straightforward view. Similarity between two disciplines leads to the introduction of the negative space concept for design space exploration. A rough design space exploration using statistics and visual analytics may support more efficient decision-making, and can provide meaningful insights into the direction of early-phase system design. For this, the approach guarantees dynamic interactions between visualized information and human cognitive systems. Visual analytics is useful to summarize complex and large-scale data. It is useful for identifying feasible design spaces, as well as for avoiding infeasible spaces or highly risky spaces. This paper investigates the possible use of the negative space concept by using an application example.

• Smart Media Journal
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• v.13 no.1
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• pp.86-100
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• 2024

Recently, a number of virtual reality exhibition-type content services have been produced using archive resources of visual art records as a means of promoting cultural policy-based public companies. However, it is by no means easy to accumulate 3D works of art as data. Looking at the current state of metadata in public institutions, there was no digitalization of resources when developing digital twins because it was built based on old international standards. It was found that data modeling evolution is inevitable to connect multidimensional data at a capacity and speed that exceeds the functions of existing systems. Therefore, the elements and concepts of data modeling design were first considered among previous studies. When developing virtual reality content, when it is designed for the migration of 3D modeling data, the previously created metadata was analyzed to improve the upper elements that must be added to 3D modeling. Furthermore, this study demonstrated the possibility by directly implementing the process of using newly created metadata in virtual reality content in accordance with the data modeling process. If this study is gradually developed in the future, metadata-based data modeling can become more meaningful in the use of public data than it is today.

• Journal of Korea Fair Competition Federation
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• no.116
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• pp.2-6
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• 2005

스크린쿼터는 문화적 다양성을 지키기 위한 수단으로서 통상협상의 대상이 아니라는 것이 국내 영화인들의 지배적인 생각이지만 순수예술과는 달리 대중을 상대로 하는 영화에 있어서 문화적 다양성이란 창작의 다양성보다는 오히려 소비의 다양성 확보에 더 큰 비중이 두어져야 한다고 본다. 그러므로 한국영화의 경쟁력 확보를 위해 소비자들의 영화선택권을 제한해 온 스크린 쿼터는 더 이상 유지되어야 할 근거가 없어졌으며, 만일 스크린 쿼터의 폐지나 축소에 따라 외국영화의 국내시장 독점이 문제된다면 이는 시장경제의 파수꾼인 경쟁법에 맡겨야 할 것이다.

• Proceedings of the Korea Multimedia Society Conference
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• 2012.05a
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• pp.308-310
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• 2012

오늘날 디지털기술과 결합한 사진은 현실과 허구를 결합하는 상호 텍스트성으로서의 사진이미지로 빠르게 변모하며 예술, 과학, 산업이 혼융되어 새로운 기능과 역할을 제시하고 있다. 디지털 사진과 재현의 새로운 관계 모색을 위해 적용된 디지털 포토그램의 다양한 사례를 Scanography, 3D Scanning작품, 나노과학기술과 사진이 만나 결합한 Nanogrphy, 렌티큘러 필터를 이용한 즉석 입체영상 배경사진 촬영 등을 통해 살펴보고 다양한 문화현상을 형성하고 새로운 시각적 패러다임을 제시하면서 문화변동까지 이끌어내는 디지털 사진의 확장가능성에 대해 연구한다.