• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.61-69
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• 2013

The conventional boundaries between art and technology are being torn down by the development of science in the 21st century. It is fulfilling the convergence to emphasize two-way communication. This research is to study the aesthetic experience of the space design which appeared in the playful space of art and technology. The purpose of this study is to analyze the expression and characteristics of the art and technology applied for the playful space, to present the intrinsic value of aesthetic experience, and finally to focus on the necessity of aesthetic experience in modern society. In the Playful space of art and technology, research methods and settings of the range to study the aesthetic experience are as follows: First, establish a theoretical consideration about the concept and characteristics of the aesthetic experience, based on Philosophical theories. Second, analyze the meaning of art and the expression elements and characteristics by using technology. Third, discuss the concept of play and features of aesthetic experience in the playful space. Fourth, investigate analysis of the case studies, focused on the architecture and space design announced through the media recently. Finally, proposes the value for the applicability of aesthetic experience that appears playful space works affect us. I saw the aesthetic experience that appears playful space independent reaction and lead to behavioral changes and physical experience to maximize the effectiveness of participation. and it is to maximize a pleasurable experience, while increasing the commitment to participate in the space. Expressions using art and technology are activated by stimulation of the emotional experience, creating a new aesthetic experience. In the modern, the new environment is being created by the convergence of art and technology and it stimulates the imagination of art. Also, it has been newly regulated the meaning of human emotions and consciousness in the new space, surrounded by technology.

• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.117-124
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• 2019

This paper investigates how digital technology innovates the aesthetic ontology of film images. The modern civilization of computer and internet bring about the new ontology of film images. Digital hybrid image expands the contradictory combination of physical reality and filmic fantasy. It is inevitable to recount Walter Benjamin' s concept of mechanical reproduction in the age of digital cinema. The modern condition of image arts changes the concept of mechanical reproduction to the logic of digital configuration. In addition, computer simulation innovates the film aesthetics of montage to the aesthetics of digital collage. The technological and aesthetical development of computer simulation and internet network leads to the new ontology of digital hybrid images. This study suggests a new theoretic point that the aesthetic ontology of digital hybrid images leads to the expansion of filmic fantasy and expression.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.395-401
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• 2020

Sound Art retains heterogeneous and borderless inborn-characteristics on it. Despite it is a non-mainstream art which could not foster fertile soil to bring up many established artists yet, the domestic area is keep growing and expanding. And now it will soon be that time of overcoming the debates between the art world and the music world to widely embrace de-facto artworks and practices, and bringing more quality critiques. This article talks about a concise history of sound art by addressing some singularities and chronicle traces of it which may be helpful information to lead into more opened future discussion forums in the domestic sound art field.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.193-201
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• 2007

The information technology is quickly changing the paradigm of the overall society. This change has influenced the art field and exceeded the limit of prior art characteristics and methods opening up a new world of art pieces starting among the young artists based on digital art technology. Especially the internet art of the computer technology made the communication of the artist and the viewer to communicate in a bilateral manner different from one way feeding of the past and made it possible for the viewers to choose their involvement in the act of seeing the work changing the reaction into a fluid concept. This thesis is about using the digital media in the net art communication to figure out the fluid interaction by approaching the digital media concept and by analyzing the characteristics of net art communication means and thus take a overall look at the artist related web sites and see the net art as a new communication means.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.446-450
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• 2008

Due to the advancement of technology, there are many attempts trying to extend ways of expressing for using digital media, even in traditional theater. In the performances that were created before '미키쥐의 죽음' directors used videos only for the background, however, in 'A Death of Mickey Rat', trying to avoid the same patterns as the ones from the past creators realized an interactive performance with the balancing combination of videos, performer and sounds. As a result, the theater suggested a possibility of a new progress in creating theater by making a created space called the stage gain more reality and adding the power of interactivity between the media and the performer.

• Journal of Digital Convergence
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• v.10 no.4
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• pp.347-352
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• 2012

Uncertain physical phenomena of nature are a frequently researched area in emotional engineering technology and visual expression of art. This paper suggests possibility for implementation of physical phenomena (percolation, dispersion, and flow) of nature using Unity 3D engine's particle system, which have already been analyzed in a previous study [1] on modern paintings that emphasized physical properties. This paper proposes an easy implementation method for uncertain physical phenomena of nature for artists experiencing difficulty in acquisition of knowledge on computer graphics programming, providing an idea for engineers conducting research on emotion-based technology.

• Archives of design research
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• v.14
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• pp.121-138
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• 1996

The purpose of this study is to develop a new architectural language and design strategies that would anticipate and incorporate new historical situations and new paradigms to understand the world. It consists of four sections as follows: First, it presents a new interpretation of space, human body, and movement that we find in modern art and tries to combine that new artistic insight with environmental design to provide a theoretical basis for performance-event architecture. Second, it conceives of architectural environment as a combination of space, movement, and probabilistic situations rather than a mere conglomeration of material. It also perceives the environment as a stage for performance and the act of designing as a performance. Third, in this context, man is conceived of as an organic system that responds to, interacts with, and adapts himself to his environment through self-regulation. By the same token, architecture should be a dynamic system that undergoes a constant transformation in its attempt to accommodate human actions and behaviors as he copes with the contemporary philosophy characterized by the principle of uncertainty, fast-changing society, and the new developments in technology. Fourth, the relativistic and organic view-point that constitutes the background for all this is radically different from the causalistic and mechanistic view that characterized the forms and functions of modernistic design. The present study places a great emphases on dematerialistic conception of environment and puts forth a disprogramming method that would accommodate interchangeability in the passage of time and the intertextuality of form and function. In the event, performance-event architecture is a strategy based on the systems world-view that would enable the recovery of man's autonomy and the reconception of his environment as an object of art.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Archives of design research
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• v.14 no.4
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• pp.147-155
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• 2001

Graphic design plays an important role in contemporary culture. The chief social function of design is to create a visual identity. This essay focuses on the development of American graphic design and the embodiment of national identity in the twentieth century. The first chapter looks at the brief history of American graphic design. And the following chapter analyzes the example of those designers who have most obviously contributed to embodying identity in the United States. At the beginning of the twentieth century American modern design began with strong European roots. American designers added new forms and concepts to the tradition of graphic design. And their original approach to modern design gained international prominence. American design was pragmatic, intuitive, and more informal in its approach. The purpose of this essay is to inquire into the identity of American graphic design in a chronological survey.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.109-114
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• 2008

We have long kept our Cartesian tradition in which Mind privileges over Body; the invention of printing technology has accelerated the tradition in which the intelligence and legibility of media were considered as a higher human value. However, the development of media and technology are supporting the multisensory mechanisms of the body as it was in preliterate era when we communicated with our whole bodily experiences. The development and spread of mass-media and new technologies have broaden the boundary of human sensory that are largely dominated by visual information and expanded it to auditory, olfactory and even gustatory sensation. Since 1960's, some philosophers and artists have recognized the human body as a subjective matter, starting the movement in which the body plays a role as an essential factor in study of human perception and cognition, aesthetics in art, and sociology, and the changed perspectives are practiced vigorously in the field of new media art; the theory of Maurice Merleau-Ponty who clarified the body as a general means for the body's possession of world, so that recognize the importance of cognition of one's body and approved the embodiment could be applied and practiced here. Therefore, we discuss how Merleau-Ponty's philosophical theory can be practiced and how McLuhan's perspective could be applied on the notion of body's extension in media by analysing some new media art cases.