• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.39-67
• /
• 2020

So far, research on the 10th performance of the Geukye Suryeonguhoe has been rarely conducted. In particular, Lee Seo-hyang's Eomeoni was rarely studied, and it was only recorded that at most it was one of the 10th performances. Although the script of Eomeoni remains, and the 10th performance was an important regular performance, it should be said that the status of this research is very poor. It seems to be the result of failing to accurately examine the historical value and meaning of the single act drama Eomeoni. In order to solve these problems, it is necessary to look at the performance situation of Eomeoni and to investigate the situation at the time of Geugyesuryeonguhoe. In addition, the reason for selecting Eomeoni, the stage performance situation, theatrical elements, stage design, and related evaluations should be analyzed throughout. This study focused on examining the status of Eomeoni's performance and examining its significance, and intends to examine the flow of feminist play as a context of the Geeugyesuryeonguhoe through the conclusion.

• Trans-
• /
• v.13
• /
• pp.1-16
• /
• 2022

Recently, the method of contacting and purchasing NFT art has been popularly evolving, and various prospects and predictions for NFT art have emerged. The discussion of NFT art is mainly a hot topic in terms of market size, profit, and sustainability. As the transition to digital accelerated after COVID-19, almost all genres of culture and arts faced a forced transition with the topic of combining digital and technology, but in terms of profitability, it was generally difficult to guarantee positive continuity. On the other hand, the combination of art and blockchain, and the new distribution method called NFT, attracted a lot of attention by causing fundamental changes that lead to technological transformation, continuity through profit creation, and even genre expansion of visual art. The discourse on NFT and the art market is a recent phenomenon and is being discussed focusing on statistics and numerical reports through data from newspapers and art-related research institutes rather than academic analysis or research. However, discussions related to NFT art should be considered in various aspects, such as the incorporation of technology and art, changes in distribution methods, and changes in creative methods according to media changes, not just short stories of phenomena such as high prices and winning bids. In this paper, we would like to examine the impact of changes in creators and distribution methods.

• (The) Research of the performance art and culture
• /
• no.25
• /
• pp.31-56
• /
• 2012

This paper were reviewed on some problems in the early history of Chinese dance written by scholars of contemporary China. Results of the review, were found the following problems; First, In describe to the early history of Chinese dance, contemporary Chinese scholars do not distinguish myths, legends and historical materials, so the history of ancient Chinese dance makes to mystery, thus, eventually will cause a lack of truthfulness. Second, In order to fill the lack in the early history of Chinese dance, the Chinese scholar often use a drawing of earthenware or mural. However, in certain cases, the same drawing by the other observer to be interpreted differently. In this case, if use as evidentiary material, there is a problem. Third, Most contemporary Chinese scholars usually say that the origins of dance is labor. It is to have originated from materialistic historical view can be said. However, in ancient China, but rather about the origin and function of dance there were diverse views. Therefore, this aspect should be cautious.

• The Korean Journal of Archival Studies
• /
• no.68
• /
• pp.151-204
• /
• 2021

Magazines also contain the daily lives of contemporary ordinary people. These characteristics serve as the possibility of daily archives. This study aims to build daily archives by analyzing the contents of the magazine Farmers' Life published in Daejeon for those archival values. To do that, it classified the articles that were published in Farmers' Life for 14 years from 1954 to 1967, it analyzed personal and organizational information, and also it implemented the daily life of farmers and rural society. The conclusion of the analysis on Farmers' Life summarized into following five points. First, the value of Daejeon private archives proved. Second, the personal information of people who were active in various fields of the society identified, and It classified by professional occupations such as politician, professor, agricultural scholar, doctor, and cartoonist, etc. Third, information on the organizations in the agricultural sector was able to collect that of some government organizations, public-private organizations, U.S. aids and 4H organizations. Fourth, certain evidence presented that help to correct the records that recorded wrongly or omitted or in need of speculation in the Christian Magazines, Literature and Art Fields. Fifth, the daily life of rural society and farmers classified into the series and organized into daily archives. This paper presented as a basic database to perceive the rural society and farmers' daily life in the 1950s and 1960s.

• The Korean Journal of Archival Studies
• /
• no.17
• /
• pp.157-202
• /
• 2008

Archival Objects are defined as objects having historical, aesthetic, and artistic value as well as archival value created and used with a particular purpose in business process. Increasingly, many countries including Canada, Australia, China are recognized the importance of Archival Objects and designated them as national records. In Korea, Archival Objects are involved in national records through '2006 Plan for the Archives and Records Management Reform'. So National Archives and Records Service provided a foothold for comprehensive plan of national records management including Archival Objects. And also, by revising Records and Archives Management Act in 2007, National Archives and Records Service declared aggressive will to management Archival Objects. Until now, Objects held in public institution were easy to be damaged because definition or scope of Archival Objects was ambiguous and management system for material character wasn't exist. Even though the revised Records and Archives Management Act suggest definition and declare the responsibility of management, management system focused on various shape and material of objects need to be established. So this study has defined Archival Objects shortly and carried out a research 5 institutions on the actual management condition. By researching the result of institution survey, Records and Archives Management Act and actual Records Management System, we could find some problems. In solving these problems, We provide objects management process in the order capture ${\rightarrow}$ register ${\rightarrow}$ description ${\rightarrow}$ preservation ${\rightarrow}$ use${\rightarrow}$disposition. In addition, close cooperation between records center and museum of institution should be established for the unitive management at national level. This study has significance in introducing a base to manage Archival Objects systematically. By studying more, we hope to advance in management of valuable Archival Objects.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.317-341
• /
• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Journal of Korea Society of Industrial Information Systems
• /
• v.19 no.1
• /
• pp.69-75
• /
• 2014

Audio seganography is the art and science of writing hidden messages that evolves as a new secret communication method. And audio steganography is similar to the process of modifying the Least Significant Bit of image files 8th LSB layer embedding has been done for desired binary messages. The effective of steganographic tools is to obtain imperceptible and robust way to conceal high rate of secret data. The objective of this paper is to propose a method for hiding the secret messages in safer manner from external attacks by modified LSB technique and encryption rearrangement key.

• Proceedings of the KSLP Conference
• /
• 2003.11a
• /
• pp.138-138
• /
• 2003

판소리는 극적인 어느 한 줄거리의 이야기를 창자와 고수가 같이 하여 소리 아니리 발림 등으로 표현하여 청중을 웃기고 울리는 공연적인 성악곡이다. 판소리의 예술세계에서 가장 깊은 내면세계와 미학적인 접근을 위해서는 음악적 관점에서 접근해야 한다. 하지만 음악적 기록이 전무한 판소리의 음악적 연구는 실제 소리의 채보에 의한 분석 연구가 필요한데 그 첫 장벽인 채보의 방법론적 검토가 없이 이루어진 주관적인 작업은 보편적인 설득력을 얻기에 부족하다. 우리나라의 전통음악은 전승방법이 서양음악과 달라서 음악의 기준이 되는 악보로써 전승되지 않고 구전으로 이어져 왔다. 따라서 채보에 대한 방법론적 연구는 판소리 뿐만 아니라 산조, 민요 가곡 등 구전으로 전통을 이어온 우리나라 전통 음악을 기술하고 분석하기 위해서 가장 먼저 해결해야 할 문제이다. (중략)

• Journal of Science of Art and Design
• /
• v.5
• /
• pp.175-216
• /
• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of Korea Game Society
• /
• v.2 no.2
• /
• pp.66-71
• /
• 2002

The common lives of the korean people reflect the feeling and emotion of their own world irrespective of rank and class. The folk picture which has the humor, feeling of the korean people, has been with the whole nation throughout times. Therefore it reveals the imaged tradition, recordable character and the truth. It is the folk picture that is the first stream of the game graphic. Because it has its own world built by timeless culture, philosophy, religion, art, and so on. When the game is understood as the reappearance of virtual truth, and the whole new world of the game players, it is really necessary to develop the game graphic with creative plans and artistic value. It is the time to focus on the korean folk picture as a new sources of the contents. Then it is obvious to solidfy the groundwork of the game industry if people at all ages play games as a result of reinterpreting and developing technical tools for the korean folk picture for the present age.