• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.484-488
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• 2007

연극이라는 것은 복합적인 표현예술장르로 하나의 요소가 아닌 여러 가지의 요소들아 합쳐져 연극이라는 예술작품을 만들게 되어 있다. 현대의 연극공연에서 영상의 비중은 날로 높아지고 있다. 무대 공간의 공간감, 협소함, 표현의 제약 등을 따져 볼 때 그것은 당연한 이유일지도 모른다. 연극이라는 것은 최종적으로 배우와 관객과 함께 호흡할 때 완성되는 것으로 배우의 연기에 따라 영상도 실시간으로 반응할 수 있어야한다. 이러기 위해서는 영상뿐만 아니라 배우와 인터렉션할 수 있는 영상의 제어 또한 상당부분 생각하지 않을 수 없다. 그리고 무대의 뜨거운 조명과 그 아래의 영상은 같은 빛으로 만들어진 작품이기 때문에 빛이라는 환경적 요인에서 벋어나지 못한다. 그 밖의 스크린의 존재와 무대의 조형물과의 조화 등도 생각해야 한다. 하지만, 연극의 성공은 관객의 몰입정도에 따라 결정된다. 몰입요소는 음악, 배우, 무대 등의 기존 연극요소가 있으며 여기에 영상 활용은 관객을 더욱 연극으로 몰입시킬 수 있는 또 다른 중요 표현방법이 된다. 그 영상의 활용방안과 문제점은 현재 여러 기술과 방법으로 해결되어지고 있으며, 연극에서 사용되는 영상은 더욱 발전 가능성과 활용 가치를 가지고 있다. 본 논문 이러한 대중문화인 연극에서 공간에서의 영상 미디어 활용의 중요성과 관객의 몰입에 관한 발전 가능성에 대한 연구이다.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.176-181
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• 2008

This study aims at providing developmental process for art and cultural space putting into an alternative in pursue of territorial arts and applicable tourist resources by bridging connectivity between arts and tourism. It overviews art promotional policies by a variety of associations since the end of 1990s, focusing on studios for art creation, while attempting to develop effective and practical operational process by analytically identifying in detail various touch points possibly occurrently in the field of arts and culture.

• Journal of the Korea Convergence Society
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• v.12 no.10
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• pp.189-201
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• 2021

The art of dynamic images has experienced three development stages, including experimental films, recording art, and new media image. By introducing all kinds of new materials, new media to the art, and the art of dynamic images has created more freedom for art creation. With the development of digital information technology, dynamic image works have put forward an increasingly high requirement of visual art. The combination of dynamic images and visual illusion can give rise to different forms and expression methods, thus endowing artworks with more vigor. This paper provides an overview by sorting out the lineage and development of dynamic images in the background, as well as understanding the application and performance of contrasted visual illusion. Based on the understanding of the characteristics of visual illusion, we discuss the new characteristics of applying the theory of visual illusion to new media dynamic images in relation to the technical approach of dynamic images. Through the analysis of specific works of Telematic Vision, we search for its reasonable combination and find the appropriate technical means of implementation. We discuss how to use digital multimedia technology and spatial optical illusion to make the design more novel and impactful, and consider how the combination of digital dynamic image technology and visual illusion should be interpreted and applied.

• Korea Science and Art Forum
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• v.37 no.2
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• pp.275-292
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• 2019

This study was initiated with the attention of demanding new and diverse approaches, we're talking familiar with imitations in the design process like a way to draw a image. So I studied a convergence of humanities and visual arts with the understanding and conceptual approach of the formless. The purpose of this study is to develop formless languages and to organize practical courses which are to enable deeper research and design expression on theoretical approaches and explanations of outcomes required before and after the process when we practice in connection with the formless. The method of this study is to draw detailed items from selected words through advanced researches, work and author researches and practice teaching. The results of the study I proposed the formless language that is related to the horizontality in spatial positioning system, and pulse in the separation of space and time, and entropy in structural orders of the system, and base materialism in the limitation of matter as the operating mechanism and parent item of formless. And those elements are related with shape, size, shading, color, texture, space, structure as visual elements of formative elements and those have various adjectival meanings as the subordinate concept. So I presented an education materials of basic design which is to enable understanding and expressing the formless language in the overall process of formless visual art(theoretical approach, practice course, presentation, etc.). Based on these study results, I hope that this educational materials will be used as educational contents that makes them express and understand different new beauties, and a role that reveals social identity, and a reference for research on a formless visual arts.

• Journal of the Korean Geographical Society
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• v.51 no.5
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• pp.691-711
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• 2016

Recently, Economic spaces around the world have changed dynamically. Creative arts and cultural actors have begun to emerge in old industrial neighborhoods of major metropolitan cities. These new actors can be seen as creative actors in arts and culture, as well as non-economic actors that have been somewhat overlooked in the traditional approaches of economic geography. They contribute to overcoming regional economic crisis, as these actors bring a particular deviant and creative atmosphere in the neighborhood. Especially, informal gatherings of artistic communities play a pivotal role in knowledge platforms for dynamics of knowledge creation and creativity, which has a significant effect on shaping a creative milieu in the initial stage of formation of a regional ecosystem. In this regard, this paper will investigate the fundamental mechanisms and driving forces of urban spatial restructuring through a case study of the creative arts and cultural ecosystem in Seongsu-dong, Seoul, Korea. Thus, the main purpose of this study is to identify the formation process and key drivers behind the development of the early arts and cultural ecosystem in Seongsu-dong from an evolutionary perspective.

• 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.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.449-458
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• 2011

The purpose of this study is to analyze the attitudes and perception of Yeosu citizen towards cultural arts and city policy of Yeosu for establishing the culture city. The results of the study shows that first, the citizens of Yeosu is dissatisfied with the local culture and arts. It is necessary to provide a variety of cultural arts space, and the facility for the citizen. Second, the citizens are dissatisfied with their culture and arts policy and administration. For successful promotion of urban cultural art as well as the for successful hosting of the 2012 Yeosu World Expo, the policy to participate of local people in the culture and arts administration should proceed. Third, as the policy of culture and arts city of Yeosu, the established facilities for the World Expo 2012 should be transformed and be leased out for small-scale of local arts and cultural events. Finally, the study shows that opportunities for artistic creation and cultural activities should be available to local artists and the opportunity to participate for the arts is necessary to expand for Yeosu citizens.

• Journal of the Korean association of regional geographers
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• v.13 no.5
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• pp.543-562
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• 2007

Busan Biennale, began from 2000, has been argued that it would improve 'intrinsic introspection related to localism' against 'a lifestyle forced by capitalism in a global dimension', by promoting urban esthetic imagination in the public sphere of the city and reflecting it upon exhibited artworks. But Busan Biennale seems to reflect partly an attempt for new place marketing or urban reimagineering as a part of postmodern culture, even thought it has been planned to be an authentic stage or public-place art for citizens. This paper is to examine Busan Biennale 2006, held from Sep.16 to Nov.25 in Busan main theme of which is 'everywhere', constituted with three major projects: the Contemporary Art Exhibition, Sea Art Festival, and the Busan Sculpture Project. Ths paper considers first some implications of the transformation of modem to postmodern city, focusing on spatial representation of the city and public place art, and then tries to evaluate whether Busan Biennale is really embedded in the local authenticity and esthetic imagination for citizen or not. As concluding remarks, this paper suggests that Busan Biennale would be continuously developed, when it is oriented more towards local public-place art for citizens with their active participations rather than towards urban reimagineering strategy to make and promote an image of Busan as a global city.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3203-3212
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• 2014

Company. s support for culture and arts started from mecenat activities. After then, it played a role as a tool of the company to satisfy consumers. cultural desires and improve the company. s image. As time goes by, it became a culture marketing which encourages business activities. Therefore, many companies try to develop their culture marketing activities in various fields. Especially art marketing has increased consumers. expectation and interest about art activities. Also, art marketing has become important as it has helped consumers to have critical view about products and improve their standard of life. As a way of art marketing, a company provides diverse exhibitions, sponsors and education programs related to art in either a specific space of the company building or a separate place. It can be said that this example of art marketing is a kind of an image marketing and public welfare at the same time. This article presents the concept of culture marketing and current condition of company. s support for culture and arts. In addition, the article depicts the concept and classification of art marketing. Furthermore, through analysis of company exhibition space and programs, the article illustrates the features and typology of art galleries managed by companies.

• Korea Science and Art Forum
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• v.19
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• pp.601-612
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• 2015

Postmodernism has blurred the line between design and art. We would like to suggest a design case that took diversity in the modern era that harmonizes functionality and shape of the top board of a furniture and trend of the role of furniture and objet into consideration. This study aims to project a new role into space via convergence of objet that has aesthetic function and furniture design that plays practical role in space. Thus, furniture design attempts to combine ceramic and carpentry and demonstrate the value and potential the combination possesses. By creating a distinct design from previous furniture that had visual limitations with ceramic bridge that adopted existing piling method in ceramic design, we expect a fresh blend of furniture and space that encompasses a different sensation from color and texture of soil and glaze, unable to attain from simple wood.