• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.397-405
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• 2022

NFT art is a new art formed based on NFT technology. This is attracting great attention in the existing art world and art market. Therefore, it is required to analyze whether NFT art can establish itself as a new area of art. Therefore, the formation and development process of NFT art is analyzed from the perspective of Actor-Network Theory of Science and Technology and Studies, and the case of NFT artist 'beeple' is a representative example. It also discusses the artistic value of NFT art and its relationship with traditional art networks based on the aesthetics of science and technology researcher Graham Harman. In particular, it analyzes the future and genre sustainability of NFT art through the case of NFT project "Cryptopunks" and "PUNKISM" advocating a new art genre. By analyzing NFT art with ANT, I would like to raise a technical, aesthetic, and philosophical questions and propose a positive prospect as a new art genre.

• Trans-
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• v.6
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• pp.1-15
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• 2019

Performing arts is an intangible arts that disappears immediately at the moment it is presented and remains only in the memory of the performer's body and audience. The same repetition, restoration and reproduction of the disappeared performance is impossible, but artists of all times and places have tried various recording methodology to leave their performances in the tangible form. The performing arts archive is where performing arts are recorded, preserved, and utilized. In the fourth industrial Revolution era, library institutions in developed countries are turning into institutions that support creative activity by not only artists but also the general public. Korea's performing arts archives should also shift from the role of an old archive to a platform to create new cultural contents. This paper summarizes the changes in the Korean performing arts archive and presents the creative application of the performing arts archive in response to the fourth industrial revolution.

• Journal of Korean Philosophical Society
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• v.142
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• pp.295-321
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• 2017

This paper discusses Hegel's concept of Art criticism, focusing on the article "${\ddot{U}}ber$ die Bekehrten" in 16. Vol. of Hegel's Gesammelte Werke. Hegel is a theorist of the system of art, but also an art critic who actively participated in popular art practice. Until now, Hegel has been interpreted mainly as a theorist who usually constitutes the system of art. According to many interpretations, Hegel has been criticized for his theories frame interpretation of the Artwork compulsorily. But in this article we see another aspect of Hegel as an art critic. First, in this article Hegel shows as an art critic how romanticists distort the work with an emphasis on the theory. Hegel argues in his article written in early 1826 that romantic ironic theory does not help at all in understanding the "die Bekehrten" of Laupach. Whereas ironic theory emphasizes the contradiction between character and its action as the essential value of the work, Hegel interprets that the comic is at the center of the work, which lets the unessential sides of the unified character disappear, so that the unity of the character expresses itself. Hegel also interprets that the theory of irony represents the work of art for the scholars, which harms the objectivity of artwork and defends the artwork for the public. Second, Hegel began to apply the achievement of his criticism to his aesthetic lectures. Since 1826 Hegel has focused intensively on discussing two concepts, romantic irony and 'artwork for the public' in his aesthetics lectures. Thus, this article provides a basis for Hegel 's criticism of ironic theory after 1826 and the concept of artwork for the public. In this respect, we can confirm that Hegel has reinforced and extended his theories through his practice of criticism of concrete works of art rather than imposing systematic theories upon art criticism

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Journal of Korean Library and Information Science Society
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• v.44 no.1
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• pp.333-355
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• 2013

This paper is to examine the issues of the right of portrait and to suppose practical guideline for performing arts archives. The right of portrait protects external looks of the human beings based on the constitutional human dignity, privacy of a secret and freedom. But sometimes these rights are limited in case of the right to know of the public shall have precedence to the interests of the privacy of individuals. It is hard to regard Performing Arts as a private life in two respects: first, Performing Arts is just one of societal expressions, two, performers are conducting a given role as a performing character. Producing database with the photos and videos under the reasonable agreement from the performers and making it available as a service can be disclaimers of the right of portrait. It is hard to be acknowledged, however, as disclaimers in case of being undermined sameness in the course of using the portraits of the performers.

• (The) Research of the performance art and culture
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• no.39
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• pp.5-30
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• 2019

Gut, Korean shamanist performance, is the archetype of Korean art therapy. It is because gut has the archetype of Korean mind and expresses the archetype in an artistic and therapeutic way. This paper compares and analyzes Gunung-geori of Hwanhaedo-gut and art therapy theories from two perspectives: the range of therapy and the therapeutic principles of performing ways. Gunung-geori aims to solve prolonged conflicts within a family, linking individual problems to family relationship. Such a therapeutic effect of Gunung-geori is well explained through the theory of Bowen's Family Therapy. Also the therapeutic principles that Gunung-geori's performing way are closely related to "transference" of Freud and "putting in the role" in drama therapy.

• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.181-192
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• 2009

Prints in the contemporary art has the radical aspects at not only to maintain the characteristic of printmaking in a field of visual image but also to fulfill and communicate a desire of the public. We can see this from the change of the printmaking forms among the alternation of diverse expression methods and media such as from the line-cut at the Renaissance to colored print process, photography, the beginning of 20th century cartoons, advertisement, art, and graphic poster. From that, we can understand the printmaking as a fluid media, not fixed, has finely accomplished its functions as an act of visual language to smoothly communicate with the individual desire and character than word or language at the complex and various cultural surface. This study is focused on that prints as an avant-garde language in popular culture. Therefore, I have examined the following two aspects. First, with focussing at the specific characters of the graphic posters, I try to define the differences between language and visual language and the effect from it to our emotional perception and behavior with the politic and economic point of view. Second, how has the printmaking art as an fine arts finely accomplished an linguistic action. These are the purpose of this study.

• Korean journal of communication and information
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• v.17
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• pp.145-178
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• 2001

Bourdieu is one of the few social science researchers who were interested in photography. Bourdieu's work on photography appears principally in two books: Un art moyen: Essai sur les usagrs sociaux de la photographie(1965) and La distinction(1979). In these books, Bourdieu analyzes the role of photography in the family life of peasants and small town and urban dwellers. He shows how different classes and groups express their esthetic worldview in response to different photographs and photographic styles. What Bourdieu analyzed is not just photography but ways of photographing and ways of looking at pictures. Through these analyses, Bourdieu explores the social definition of photography. Bourdieu's ideas on photographic practice in social life are as follows. First, the photography, especially family photography generally practiced, has the integrative function. It recreates the group by ritualizing and solemnizing the important moments of social life in which the group reaffirms its unity. Second, the photography as esthetic practice in search of legitimacy as a fine art becomes a means by which different classes are pitted against each other. Each of classes gives its own meaning to photographic practice. Despite its originality and persuasive power, Bourdieu's work on photography has its own limits. The data used by Bourdieu are 35 years old and relevant to European social life. Things has changed since. First, the technological improvement and innovation in photography was considerable. Cheap and good photographic materials, easy to operate, made photographic practice everybody's everyday activity. New media like camcorder and digital camera made photography one of the industrial discards like jukebox. It means that photography does not function as important means of distinction between classes any longer. The integrative function of the photography becomes more ambiguous too. Second, the esthetic status of the photography has changed. The family photography was already integraed into fine art. Photography is not a middle-brow art any more. Bourdieu's work on photography shows how photography was used by different social classes in European social life of the 1960's. His work is historically and geographically limited. Moreover, his work was ordered by the french affiliate of Eastman Kodak Company. And all along the analysis, Bourdieu didn't hide his intention of distinguishing his sociological method from the other methods, especially psychological one. These mean that Bourdieu's work was done in a specific context, for specific purposes. In this respect, Bourdieu's work on photography, like every sociological work, can not claim to be universal.

• Journal of the Economic Geographical Society of Korea
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• v.14 no.1
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• pp.71-85
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• 2011

Many of the old industrial cities in advanced economies have experienced deindustrialization since the 1960s. While some of them have been transforming their economic structures with new economies, such as arts and cultural industries, others have been seriously suffering from economic and social problems. Brooklyn Borough of New York City is one of the best examples which have gone trough rapid de-industrialization; but have been reasonably successful in recovering its economy with arts and cultural industries. This paper introduces the process of developing creative industry clusters, articulates major actors, and find out the governance of the clusters, using three Brooklyn's arts clusters, such as DUMBO, BAM and Williamsburg. Based on the case studies, the paper draws theoretical and policy implications applicable to the Korean circumstance.

• Korean Association of Arts Management
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• no.49
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• pp.177-200
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• 2019

The purpose of this study is to critically explore and make an issue of the distribution system presented by Victoria Alexander's 'Modified Cultural Diamond' model. Street artist Banksy was served as a single case, and various secondary data were collected and analyzed for the purposes of this study. First, this study examined the formation of the aesthetic discourse and the increase in the value of Banksy's works by the market intermediaries constituting the distribution system. In addition, this paper placed Banksy's actions and works in Alexander's theoretical framework and critically discussed the following three aspects of the distribution system of 'Modified Cultural Diamond': the divorce between artists and artworks by the distribution system; the ignorance of the direct connection between artist and consumer; and lastly the exclusion of the possibility of distributing works by artists. Based on this discussion, this study has significance in making a theoretical model of Alexander academically controversial.