• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.569-572
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• 2023

최근 하루가 다르게 발전하고 있는 생성형 AI가 창작과 예술 분야에 어떤 영향을 미칠 수 있는지, 새롭게 등장하고 있는 다양한 분야에서 활용 가능한 획기적인 기능 등을 살펴보고 이를 바탕으로 새로운 창작 방향을 제시할 수 있는 방법들을 살펴보려 한다. 최근, 작곡가와 소설가들은 물론, 디지털 아티스트들까지도 생성형 AI를 활용하여 독특한 음악, 글, 그리고 이미지를 창조하는데 성공했다는 사례들이 속속 드러나고 있고 영상, 게임, 웹툰 등 많은 산업현장에서 직접적인 활용방법에 대한 연구결과가 등장하고 실제 적용 사례도 늘어나고 있다. 이미지 생성기인 미드저니와 스테이블디퓨전 같은 도구들은 혁신적인 방법으로 빠르게 높은 퀄리티의 이미지를 생성하고 다양한 아이디어를 제공 받을 수 있는 도구로 창작과 예술 분야에서 큰 관심을 받고 있다. 이러한 발전은 창작과 예술 분야에서 생성형 AI의 무한한 가능성을 보여주는 한편, 인간의 창의성 침해와 예술가들의 노력 희석에 대한 비판적 시각을 불러일으키기도 한다. 본 연구는 이런 다양한 관점에서 창작·예술 분야의 생성형 AI 활용을 깊이 있게 탐구한다. 그 과정에서 여러 생성형 AI 도구들, 특히 이미지 생성기 미드저니와 스테이블디퓨전의 기능과 활용 방안, 그로 인한 사회적, 윤리적 측면을 분석하며, 창작·예술 분야에서의 생성형 AI 활용의 적절한 방향성과 미래 전망을 제시해 보고자 한다.

• Cartoon and Animation Studies
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• s.50
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• pp.43-73
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• 2018

This is a study on 'Objet' in animation culture art education. Research on the use of Objet in modern art is actively under way. From Cubism to Dadaism, Surrealism, Futurism and Pop art, it is no exaggeration to say that the Objet is stepping with modern art. In addition, Objet has a remarkable value in the field of visual arts expressing 'motion' such as kinetic art, video art, media art, and animation. However, there are not many cases of classifying and studying the types of Objets used in artworks. Therefore, this researcher has been influenced by the surrealism discourse and prepared six types of Objets type analysis framework. And the research focused on 'the aesthetic emotion and educational aspect of creativity improvement' of Objet animation was conducted. The type analysis framework is named as a drawing Objet, Objet of existence, a morphine Objet, epidermis Objet, assigned Objet and assemblage Objet and this type is presented and analyzed with case image. The data used in this study was focused on the outcome of Objet animation that were trained for non-experts in culture and arts education. This aesthetic emotion refers to Freud's desire for life (Eros) as Attraction, and desire for death (Thanatos) as Uncanny (fearful unfamiliarity) and explains the conflicting concept with the Animism, the indigenous religion. Next, educational aspects of Objet animation creativity improvement in relation to the term 'functional fixedness' was discussed as described by Gestalt psychologist Karl Duncker (1903-1940). Overcoming the functional fixedness is a phenomenon that is fixed only to the functional aspects of things and can't be changed. In this study, the educational aspect of creativity improvement was demonstrated as a case of overcoming the functional fixedness through 'Objet Animation' culture and art education. Ultimately, this study is to prove the aesthetic emotion and creativity of the Objet animation by analyzing Objet types. Furthermore, it is meaningful to suggest direction when using 'Objet Animation' in culture and arts education.

• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.

• (The) Research of the performance art and culture
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• no.18
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• pp.257-282
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• 2009

Le $th{\acute{e}}{\hat{t}}re$ musical en $Cor{\acute{e}}e$ est devenu aujourd'hui une mode. Beaucoup parlent de musical, mais beaucoup de musicals sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ sans des recherches $n{\acute{e}}cessaires$ suffisantes. C'est pour cette raison que la plupart des spectacles musicaux qui sont $cr{\acute{e}}es$ en $Cor{\acute{e}}e$ sont $destin{\acute{e}}s$ en faillite $d{\grave{e}}s$ la naissance. D'ailleurs les musicals $liscenci{\acute{e}}s$ par $l^{\prime}Am{\acute{e}}rique$, la France qui sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ de $Cor{\acute{e}}e$ aujourd'hui sont assez pour nuire le $march{\acute{e}}$ $cor{\acute{e}}en$ $constitu{\acute{e}}$ autour de musical. Quels sont donc les $probl{\grave{e}}mes$ que posent les musicals $liscenci{\acute{e}}s$? $Premi{\grave{e}}rement$ ils encouragent la mime, pas la $cr{\acute{e}}ation$. En d'autre terme, les musicals $liscenci{\acute{e}}s$ que les $Cor{\acute{e}}ens$ montent sur la $sc{\grave{e}}ne$ ne sont pas les $cr{\acute{e}}ations$ propres chez les $Cor{\acute{e}}ens$, par contre, ces derniers sont $demand{\acute{e}}s$ de suivre ${\grave{a}}$ la mot les indications $dict{\acute{e}}es$ par le droit d'auteur. Les $cr{\acute{e}}ateurs$ $cor{\acute{e}}ens$ ne sont pas libres de $cr{\acute{e}}ation$. $Deuxi{\grave{e}}mement$ les musicals ${\grave{a}}$ la mode ont pouvoir de $d{\acute{e}}truire$ la $diversit{\acute{e}}$ de l'homme. L'homme se $caract{\grave{e}}rise$ par la $diversit{\acute{e}}$ et se $diff{\grave{e}}re$ l'un par rapport ${\grave{a}}$ l'autre. C'est l'essence de l'homme. Tous sont $diff{\acute{e}}rents$. Pourtant le musical qui $r{\grave{e}}gne$ sur tous genres de spectacles d'aujourd'hui de $Cor{\acute{e}}e$ ne laisse pas vivre d'autres genres de spectacles, la danse, le $th{\acute{e}}{\hat{a}}tre$, etc. Seul le musical est $compt{\acute{e}}$. $Troisi{\grave{e}}mement$ le musical ne peut pas nier $compl{\grave{e}}tement$ son origine commerciale. En fait le musical est devenu une chose important depuis des investigations immenses par le gouvernement $d^{\prime}Am{\acute{e}}rique$ pour donner des travails aux gens. Donc, $d{\grave{e}}s$ le $d{\acute{e}}but$, il n'y avait pas de $consid{\acute{e}}rations$ artistiques dans et sur le musical. Comme c'est par le commerce que le musical est $r{\acute{e}}pandu$, s'il y aura un $probl{\grave{e}}me$ quelconque, il est $tr{\grave{e}}s$ possible qu'on cherche ${\grave{a}}$ $r{\acute{e}}soudre$ le $probl{\grave{e}}me$ par la vue de commerce. En comprenant les $probl{\grave{e}}mes$ $mentionn{\acute{e}}s$ $l{\grave{a}}$-dessus, il faut $pr{\acute{e}}parer$ le changement de $march{\acute{e}}$ $cor{\acute{e}}enne$ de musical. Le moyen le plus $su{\hat{r}}$ de se $pr{\acute{e}}parer$ est de trouver la $r{\acute{e}}solution$ dans la culture. Pourtant cette $derni{\grave{e}}re$ ne signifie pas la tradition comme $c^{\prime}{\acute{e}}tait$ le cas $jusqu^{\prime}{\grave{a}}$ aujourd'hui, car les $Cor{\acute{e}}ens$ ne sont pas ${\acute{e}}duqu{\acute{e}}s$ par cette $derni{\grave{e}}re$. La $modernit{\acute{e}}$, disons occidentale, traverse la $Cor{\acute{e}}e$. Donc, la signification du mot 'culture' doit ${\hat{e}}tre$ $bas{\acute{e}}e$ sur la tradition et la $modernit{\acute{e}}$ en $m{\hat{e}}me$ temps.

• Investigative Magnetic Resonance Imaging
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• v.8 no.2
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• pp.79-85
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• 2004

Purpose : To evaluate the usefulness and reproducibility of $^1H$ MRS in different 1.5 T MR machines with different coils to compare the SNR, scan time and the spectral patterns in different brain regions in normal volunteers. Materials and Methods : Localized $^1H$ MR spectroscopy ($^1H$ MRS) was performed in a total of 10 normal volunteers (age; 20-45 years) with spectral parameters adjusted by the autoprescan routine (PROBE package). In all volunteers, MRS was performed in a three times using conventional MRS (Signa Horizon) with 1 channel coil and upgraded MRS (Echospeed plus with EXCITE) with both 1 channel and 8 channel coil. Using these three different machines and coils, SNRs of the spectra in both phantom and volunteers and (pre)scan time of MRS were compared. Two regions of the human brain (basal ganglia and deep white matter) were examined and relative metabolite ratios (NAA/Cr, Cho/Cr, and mI/Cr ratios) were measured in all volunteers. For all spectra, a STEAM localization sequence with three-pulse CHESS $H_2O$ suppression was used, with the following acquisition parameters: TR=3.0/2.0 sec, TE=30 msec, TM=13.7 msec, SW=2500 Hz, SI=2048 pts, AVG : 64/128, and NEX=2/8 (Signa/Echospeed). Results : The SNR was about over $30\%$ higher in Echospeed machine and time for prescan and scan was almost same in different machines and coils. Reliable spectra were obtained on both MRS systems and there were no significant differences in spectral patterns and relative metabolite ratios in two brain regions (p>0.05). Conclusion : Both conventional and new MRI systems are highly reliable and reproducible for $^1H$ MR spectroscopic examinations in human brains and there are no significant differences in applications for $^1H$ MRS between two different MRI systems.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• Korean Association for Visual Culture
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• v.23
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• pp.463-524
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• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.

• 한국지구물리탐사학회:학술대회논문집
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• 2004.08a
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• pp.104-117
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• 2004

Dmitri Donskoi, which went down during the Russo-Japanese War occurred 100 years ago, was found by using geophysical exploration techniques at the 400 m water depth of submarine valley off Jeodong of Ulleung Island. In the submarine area with the rugged seabed topography and volcanic seamounts, in particular, the reliable seabed images were acquired by using the mid-to-shallow Multibeam exploration technique The strength of corrosion (causticity) of the sunken Donskoi, measured by the electrochemical method, decreased to 2/5 compared with the original strength.

• Cartoon and Animation Studies
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• s.45
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• pp.197-214
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• 2016

Augmented Reality, virtual reality in recently attracted attention throughout the world. and Mix them mixed reality etc., it has had a significant impact on the overall pop culture beyond the scope of science and technology. The world's leading IT company : Google, Apple, Samsung, Microsoft, Sony, LG is focusing on development of AR, VR technology for the public. The many large and small companies developed VR hardware, VR software, VR content. It does not look that makes a human a human operation in the cognitive experience of certain places or situations or invisible through Specific platforms or program is Encompass a common technique that a realization of the virtual space. In particular, out of the three-dimensional image reveals the limitations of the conventional two-dimensional structure - 180, 360 degree images provided by the subjective and objective symptoms such as vision and sense of time and got participants to select it. VR technology that can significantly induce the commitment and participation is Industry as well as to the general public which leads to the attention of colostrum. It was introduced more than 10 related VR works Year 2015 Sundance Film Festival New Frontier program. The appearance VR content : medical, architecture, shopping, movies, animations. Also, 360 individuals can be produced by the camera / video sharing VR is becoming an interactive tunnel between two possible users. Nevertheless, This confusion of values, moral degeneration and the realization of a virtual space that has been pointed out that the inherent. 4K or HUD, location tracking, motion sensors, processing power, and superior 3D graphics, touch, smell, 4D technology, 3D audio technology - It developed more than ever and possible approaches to reality. Thereafter, This is because the moral degeneration, identity, generational conflict, and escapism concerns. Animation is also seeking costs in this category Reality. Despite the similarities rather it has that image, and may be the reason that the animation is pushed back to the VR content creation. However, it is focused on the game and VR technology and the platform that is entertaining, but also seek new points within the animation staying in the flat Given that eventually consist of visual images is clear that VR sought. Finally, What is the reality created in the virtual space using VR technology could be applied to the animation? So it can be seen that the common interest is research on what methods and means applied.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.351-378
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• 2006

With the development of media, the methods for the documentation of intangible cultural heritage have been also developed and diversified. As well as the previous analogue ways of documentation, the have been recently applying new multi-media technologies focusing on digital pictures, sound sources, movies, etc. Among the new technologies, the documentation of intangible cultural heritage using the method of 'Motion Capture' has proved itself prominent especially in the fields that require three-dimensional documentation such as dances and performances. Motion Capture refers to the documentation technology which records the signals of the time varing positions derived from the sensors equipped on the surface of an object. It converts the signals from the sensors into digital data which can be plotted as points on the virtual coordinates of the computer and records the movement of the points during a certain period of time, as the object moves. It produces scientific data for the preservation of intangible cultural heritage, by displaying digital data which represents the virtual motion of a holder of an intangible cultural heritage. National Research Institute of Cultural Properties (NRICP) has been working on for the development of new documentation method for the Important Intangible Cultural Heritage designated by Korean government. This is to be done using 'motion capture' equipments which are also widely used for the computer graphics in movie or game industries. This project is designed to apply the motion capture technology for 3 years- from 2005 to 2007 - for 11 performances from 7 traditional dances of which body gestures have considerable values among the Important Intangible Cultural Heritage performances. This is to be supported by lottery funds. In 2005, the first year of the project, accumulated were data of single dances, such as Seungmu (monk's dance), Salpuri(a solo dance for spiritual cleansing dance), Taepyeongmu (dance of peace), which are relatively easy in terms of performing skills. In 2006, group dances, such as Jinju Geommu (Jinju sword dance), Seungjeonmu (dance for victory), Cheoyongmu (dance of Lord Cheoyong), etc., will be documented. In the last year of the project, 2007, education programme for comparative studies, analysis and transmission of intangible cultural heritage and three-dimensional contents for public service will be devised, based on the accumulated data, as well as the documentation of Hakyeonhwadae Habseolmu (crane dance combined with the lotus blossom dance). By describing the processes and results of motion capture documentation of Salpuri dance (Lee Mae-bang), Taepyeongmu (Kang seon-young) and Seungmu (Lee Mae-bang, Lee Ae-ju and Jung Jae-man) conducted in 2005, this report introduces a new approach for the documentation of intangible cultural heritage. During the first year of the project, two questions have been raised. First, how can we capture motions of a holder (dancer) without cutoffs during quite a long performance? After many times of tests, the motion capture system proved itself stable with continuous results. Second, how can we reproduce the accurate motion without the re-targeting process? The project re-created the most accurate motion of the dancer's gestures, applying the new technology to drew out the shape of the dancers's body digital data before the motion capture process for the first time in Korea. The accurate three-dimensional body models for four holders obtained by the body scanning enhanced the accuracy of the motion capture of the dance.