• Korea Science and Art Forum
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• v.21
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• pp.105-116
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• 2015

This study intended to give helps in planning a specialized exhibition by carrying out a survey objecting to KOREA PACK 2015 attendees including visitors who possessed mobile coupons after finishing advance registration through on-line, and then investigating, analyzing satisfactions of attendees together with effects of the specialized exhibition using IT technology. As a lot of relevant preceeding researches have been made by focussing on exhibition organizer and exhibitors, the viewpoints of attendees at the specialized exhibition using IT conversing technology such as mobile and etc. were to be investigated and analyzed. Thus, this research tried to do an empirical identification on effects of the exhibition by analyzing relations between its watching forms and satisfactions including a survey on the on-line PR route utility of IT technology in addition to visiting motives of attendees who watched the exhibition. A summarization of the current study is followed: First, in case of attending in the exhibition for specific purposes, they searched related information positively, and were shown as doing information gathering behaviors and also high possibility on purchases was confirmed. Second, it was confirmed that positive attendees had decision-making on purchases. This finding means that attendees who watch the specialized exhibition have authority and responsibility of being able to purchase in many cases, so methods of improving sales by effectively doing PR on own products and technical competitiveness in the exhibition are necessary to exhibitors. Third, attendees who have specific purposes showed higher satisfactions on the exhibition than general visitors, but satisfactions on consultation, staff attitudes, and facility were turn out to be higher than providing related information on products or technology. Accordingly, the necessity of improving this outcome was confirmed. Therefore, exhibitors have to endeavor in providing more advanced services to attendees of the exhibition by grasping technical trends in advance as well as cultivating professional staff who can promote products well.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.64-73
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• 2015

Describing the filmography of Yong-ho KIM simply in a few sentences is considered nearly impossible. For the last 20 years and longer, KIM has been building up his career energetically as he never lets himself obsessed with any particular boundaries or areas but work on everything from paper advertisements to art galleries, advertising photographs and pure photographs. The Photolanguage personally mentioned by Yong-ho KIM himself is to visualize this imaginary story in a form of photograph, which one would come up with before shooting. When it comes to the advertising photographs, since they are used basically to sell products, they are considered rather temporary, and in addition, they photograph the products mostly under these bright lights with colorful backgrounds behind. However, Yong-ho KIM was recognized for presenting very much different work as he went even beyond these old stereotypes of the advertising photographs. The advertising photographs processed by KIM do more than merely introducing details or functions of some products, but they deliver these values and cultures that consumers can enjoy and gain through these original stories about the products. Of several pieces of KIM's work, this advertisement on Hyundai Card named was invited to an exhibition by a private gallery after the work was exposed through various media. The work was even purchased, and that was something that had not happened before in the history of the relevant field. When a photograph is purchased, it makes the photograph recognized for its value to be possessed, and when a photograph is displayed, it, again, makes the photograph win recognition as an art work. This thesis discusses the Photolanguage found in the works of Yong-ho KIM, one of the most well-known advertising photographers in South Korea. The research inquiries that have been analyzed in the body of the thesis, therefore, are the photographs and language in the digital era, the story-telling advertisements and these works by Yong-ho KIM.

• Cartoon and Animation Studies
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• s.48
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• pp.69-84
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• 2017

In order to display various art works such as media art in a multi-display environment, it is necessary to consider contents arrangement. The advantage of having a 1: N or N: N layout instead of a 1: 1 or N: 1 layout between display and content, but a more complex scheme of how to do spatial and temporal layout in multi-display Is required. In order to distribute contents, existing media server solution or programming-based multimedia production software is used. However, it takes much time to rearrange or modify the contents, and it is not easy to modify the contents. Therefore, It is difficult to place content in the environment. In order to solve this problem, various approaches are needed from research on content placement method to development of content placement software that improves the existing method. However, analysis on systematic content placement type supporting it, or interface There is also no access to. In this study, we have summarized the requirements for designing the interface for each type with the aim of making it possible to utilize previously analyzed content layout types in various display activities such as media art in multi - display environment. The requirements of each type of interface were derived based on spatial arrangement and temporal layout type which are most distinguished when content is placed. The contents of the interface requirements are summarized as follows: We expect to be a cornerstone for system development.

• The Korean Journal of Archival Studies
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• no.80
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.345-352
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• 2024

K-Pop Square Media, located at COEX in Samseong-dong, has gained public attention and mass media focus by showcasing various three-dimensional videos on a large LED display. The video content on the distinctive large curved LED display utilizes a form of media façade technique, establishing itself as a new landmark and attraction within the spatial characteristics of the COEX Plaza. This study aims to examine the characteristics of media facades used in outdoor advertising in urban spaces, focusing on K-Pop Square Media. The approach for this research involves three aspects: Firstly, examining the 'spatial characteristics' of urban public spaces by referencing Kevin Lynch's five elements constituting urban space and William J. Mitchell's exploration of smart spaces and changes in spatial paradigms. Secondly, analyzing the 'digital nature' of outdoor advertising through an examination of three types of Digital Out-Of-Home (DOOH) Media. Thirdly, exploring the 'technological advancements and content composition of media facades' by investigating types of display media (projection, LED screens), the inception of media facades, and the latest display technology like Anamorphic displays. Through this research, it becomes evident that K-Pop Square Media exhibits characteristics of publicness, communicativeness, artistry, and placemaking through the spatial characteristics of smart spaces, the media-specific aspects of Digital Out-Of-Home advertising, and the content composition of media facades.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Review of Culture and Economy
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• v.17 no.2
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• pp.161-184
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• 2014

The dramatic rise of experience space using cultural heritage in modern architecture has been generally acknowledged in recent literature. The present study aims to investigate effective ways to enhance competitiveness in local experience space, with an emphasis on the use of cultural heritage in modern architecture. Using the case of the Sam-Rae Arts Village in Wanju-gun, Jeollabuk, this study analyzes the characteristics of the 4Es in experience economy theory. In order to arrive at findings that represent the variety of perspectives found in this context, qualitative interviews were conducted with three groups: public officials, maintenance staff in the experience center, and field experts. The results of this study revealed that the Visual Media Art Museum and Book Wooks were used for entertainment, the Corpentry Shop for education, the Book Museum for escapism, and the Design Museum Culture $Caf{\acute{e}}$ The O's for aestheticism. Additionally, depending on the commercial potential of the respective experience space, the Corpentry Shop, Book Wooks, and the Culture $Caf{\acute{e}}$ The O's were used for profit purposes while the Design Museum and the Visual Media Art Museum for non-profit. Based on the findings of the present study, effective ways to enhance competitiveness in the local experience space are suggested. First, the public nature of cultural enjoyment may be realized in a field that bears non-profit characteristics. In exhibiting works, the experience space could suggest the extra demonstration. Second, in the for-profit experience hall, the securing of tourists may help to maximize profit. In so doing, a variety of experience programs and activity spaces could be provided internally, while advertisement marketing through mobile and SNS could be reinforced externally.

• Review of Culture and Economy
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• v.21 no.1
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• pp.85-104
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• 2018

The studies related to the price of artworks have focused on how factors that are determined on production level, such as artists and the artwork materials of the studies, affect the artwork prices. As 'Dansekhwa' is in the spotlight within local Korean art auction matket, this study would like to analyze the trend of the price changes of 'Dansekhwa' with its growing popularity among the public. We have estimated the price changes based on 4,199 auction data of 20 artists with top 20 auction prices selected by the Korean Art Price Appraisal Association, between 2005 and 2016. Also, in order to compare and analyze the price changes of the 'Dansekhwa' products, we have classified the 20 artists into groups of Dansekhwa and non-Dansekhwa. Starting from 2013, when Dansekhwa has first appeared, we applied the Difference in the Difference model(DiD) to estimate the result. As a result, the difference between two groups showed 71% of price difference due to the increase in popularity of Dansekhwa. This result proves that recognition level has an important role for increase in price of an artwork. Moreover, the fact that the formalized style of Dansekhwa has linked to the appreciation of the price means that production of information could play an essential role in growth of art market. As recognition level of Korean artists and their artworks is considerably low within the local art market, putting in the effort to increase the popularity of artworks among the public might be a helpful way to magnify the potential demand.

• The Korean Journal of Archival Studies
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• no.55
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• pp.73-96
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• 2018

Andy Warhol's "Time Capsule" is an individual's daily record, but it can also be evaluated as an artwork. Andy Warhol kept most of his items in boxes until his death in 1974. Warhol's personal records contained receipts, invitations, memos, letters, voice tapes, newspapers, magazines, fan letters, mails, and exhibit materials. Andy Warhol's act of collecting items was continuous and repetitive, giving others a deeper insight into the artist's life. Warhol constantly recorded daily repetitive behaviors such as the people he met, a list of books he bought, and movies he had watched as a record producer. In addition, occasionally, he was in the position of an archivist, collecting and organizing others' records. As such, he expressed his passion for recording his surroundings. His intentionally produced or collected records contain valuable information, not only of himself but also of the people surrounding him. His personal records show that it is the material that enables people to understand and appreciate his relationship with contemporary artists, as well as the artist's education and the conditions during his time.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.23-34
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• 2019

The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design.