• The Journal of Korean Institute for Practical Engineering Education
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• v.3 no.2
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• pp.11-17
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• 2011

As a rapid rate of social change and competitive, paradigm of industry environment manufacturing products and services is shifted. Engineers design, develop, manufacture the products and services are strongly asked competency of different new creative practices. This means while industrial structure has been shifted from mass production to various allied production and social engineering based production, qualifications of engineers are required to individual creative competency as alternatives. In order to improve the competency, engineer become the creative people have ability to develop the professional knowledge competency and expand the competency to convergence the new product and services with sensing the life and social structure shift, human engineering, psychology, and emotion. For the competency, we develop the training program "improving convergence, creativity through Art." we intend that the program should be composed of creative engineering mechanism combined creative arts mechanism. It has been operated to the engineers for 17 weeks. we will discuss the program result and research direction and utilization in depth.

• Journal of Digital Convergence
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• v.13 no.8
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• pp.457-463
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• 2015

The image distortion field has been studied and applied variously in the fields of engineering and art. This research is to express artistic sense by using the engineering technology on image distortion. In order to do this, the paper first examines the aesthetic interpretations on artistic expressions of image distortion. Then, it explains that image distortion using magnetic force can be an artistic expression method and includes user immersion elements. In addition, it demonstrates that image distortion can be used as an artistic emotional expression based on interaction. This research will contribute to the production and development of creative emotional contents through the convergence of scientific technology and art.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.11a
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• pp.123-126
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• 2020

딥러닝이 정답을 찾아가는 연구과정이라면 미술은 정답이나 오답의 단정적 결과보다는 미추(아름다움과 추함)를 포함하는 과정적, 창조적 행위에 가깝다고 할 수 있다. 다시 말하면 미술은 0과 1로만 환원할 수 없는 세계를 기술하여 감동을 주는 유기적 규칙이 내재되어 있고 때로는 과학이 만들어낸 결론을 뒤집는 반상식적 추론을 하기도 한다. 그러므로 딥러닝은 예술적 방식을 통하여 과학의 상식적 추론과의 좋은 거리(Fine distance)를 유지할 필요성이 있는데, 이를 위해서 기존 딥러닝의 이미지 생성과 관련하여 Distance, Classification, Optimization 등의 문제를 미술 표현 기법과 목적이 담겨있는 창작자의 Statement 키워드와의 유사성과 차이점을 비교 분석할 필요가 있다고 생각한다. 시각적 표현과 관련된 딥러닝의 성능은 아직 사람의 표현능력에 못 미치고 있어 본 논문에서는 콜라주 기법에 의한 비디오 생성을 위한 탐색적 실험 분석을 목적으로 GAN을 활용한 콜라주 비디오를 제작하고 그 문제점과 개선점을 제안하고자 한다.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.676-684
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• 2022

In this paper, we consider the potential of a metaverse space that can be expanded infinitely through the reinvention of the metaverse space. In particular, this study attempted to establish a new concept of metaverse space, and to present research models and strategies between technologies and humanities. To perform this, this study revealed problems that can be overlooked through characteristic analysis of the metaverse space and proposed ways to overcome them through in-depth interviews with experts. In this way, interdisciplinary research will contribute to the revitalization of the metaverse content industry in the mid to long term. Therefore, through this study, it is expected that reinterpreted metaverse space can reach a practical realization as a meaningful place of life and a creative space through Yi-Fu Tuan's concept.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.7
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• pp.389-397
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• 2016

Digital Humanities System is a method to effectively share and spread Humanities information and knowledge to users by using information technology. It Also comes into the spotlight as a new research methodology for researches of Humanities researchers. Digital Humanities System distinguishes itself from other existing information systems. Therefore, when the system is developed, it needs to supply with manpower related to development process which is specialized for Digital Humanities System, not for the several established construction methodology. Digital Humanities System studies recently is mostly constructed using the usual methodology of information system construction. Because of its falling efficiency and usability after constructing the system, however, examples of failure of operating system occur. In this paper, accordingly, effective and creative Digital Humanities System development methodology will be studied from the point of view of information technology through collaboration with various field of expertise. In detail, based on information system methodologies in software engineering perspective, we propose a methodology to build a specialized system in the digital humanities.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.29 no.3A
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• pp.217-225
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• 2009

Bridge design is a problem-solving process whose level of design quality strongly depends on how to relate design constraints with feasibile design objectives in conceptual design stage. This paper has focused on how to create bridge shapes using creativity toward better looking bridge appearances in conceptual design stage. The term creativity in this study does not refer to the creation of something from nothing but to the reorganization of existing concepts. Such creativity includes not only enlarging the number of structural forms which is established based on the relationship between form and statics but also combining bridge design with artistic components like an architectural style. Also, this study has investigated the usefulness of graphic statics as a structural analysis tool showing the analysis results visually to generate bridge forms in conceptual design stage. It is expected that the proposed way of generating bridge forms in this study to be used not only for practical purpose but also for educational purpose regarding the aesthetic bridge design serving as a new education paradigm.

• Archives of design research
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• v.15 no.2
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• pp.253-266
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• 2002

Web Based Instruction has its theoretical background in constructivism paradigm of education. According to social changes called information era and thanks to the sophisticated internet mechanism the constructivism in education has been dominant paradigm. In this paradigm information and knowledge are not merely given by a instructor facing the loaners. This system of instruction has n almost every field of discipline introduced. This article aims to examine how far WBI and constructivism are applicable for design education. Richard Branchia predicted that the learner oriented instruction method would become the dominant education system. He stressed an interactivity of the teacher and students. Upon this can the applicability of WBI for design education be affirmed. Furthermore, there is a dozen of successful cases like www.cyberartcenter.com) (www.digitalyeil.co.kr)', http://www.schooleweb.co.kr/, htp://www.startstudy.co.kr/among many others. This article suggests several ways to solve the problems web based design education faces, including the lesson should inevitably combine the outline and of online study.