• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.

• Korean Association of Arts Management
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• no.54
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• pp.155-184
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• 2020

This study aims to examine the system for gender rights in arts and cultural industry triggered by #Metoo movement and to suggest action plans to improve gender equality. Up until now, Korean government launched 'Pan-governmental Counter Plan', 'Recommendation of the Special Center for Investigating Sexual Harassment and Sexual Violence in Arts and Cultural Industries' 'the Primary and Secondary Supplemental Measures to Eradicate Sexual Harassment and Sexual Violence in the Arts and Cultural Sector by the Ministry of Culture, Sports and Tourism in Korea', and '2030 Cultural Vision'. Korean government has designed the system to protect gender rights using these proposals. Implemented policies can be grouped into 4 different categories; protecting victims, punishing abusers, implementing preventive measures, and reforming legal system. However, despite Korean government's multilateral efforts, continuous criticism aroused as policies failed to witness actual impacts in the industry. Given the fact that 2 years have passed since the launch of gender equality policy in cultural sector, this is the right time to discuss the current status and ways to improve it. For above reasons, research was conducted on documents including, but not limited to, government publications and an analysis of interviews with 9 major stakeholders of policy planning and implementation. During the study, interviews were analyzed using the qualitative research program MAXQDA. As a result, 5~10 problems were revealed in each category of the system. Furthermore, meaningful correlation has been found in improvement areas suggested by the interviewees. This connection implies that the policy for gender rights in arts and cultural industry shall be developed organically in order for the system to work.

• 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.

• Korean Association for Visual Culture
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• v.35
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• pp.5-33
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• 2019

This paper examines the problems of the concept of 'analogon' which occupies an important place in Jean-Paul Sartre's theory of imagination and his 'aesthetic of the unreal', focusing on Michel Dufrenne's objection to the concept. In the Imaginary (1940), Sartre offers a phenomenological account of the imaginative experience and his theory of imagination provides the basis for his account of experience of art. Sartre distinguishes the imagining consciousness from the realizing consciousness of perception. The work of art, for Sartre, is transformed into an irreal thing ("The work of art is irreality."), i.e. it appears only as aesthetic object, and only under the condition that the spectator's consciousness changes into an imagining consciousness. Some claim that Sartre underemphasizes the function of materiality in artworks. Mikel Dufrenne, in his The Phenomenology of Aesthetic Experience (1953), criticizes Sartre's thesis of irreality. Dufrenne argues that the aesthetic object is the work of art accomplished by aesthetic perception, the meaning of the aesthetic object is given as a whole in the sensuous and does not refer to something that lies outside the object as with imagination or irreality. An affective a priori is the condition of possibility for the occurrence of aesthetic experience.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.

• Journal of the Korean Society for Library and Information Science
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• v.56 no.1
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• pp.425-447
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• 2022

The purpose of this study is to introduce the Theory of Information Worlds which analyzes information behaviors in the social perspective. This study analyzed dissertations using the theory to provide the understanding of the theory and suggest theoretical implications. The theory was developed by Burnett and Jeager in 2008, and since then it was applied in 14 dissertations. Key concepts of the theory include social norms, social types, information value, information behavior, and boundaries. These concepts are intervened in the process of creation and control of behavior through interaction each other. Qualitative research was adopted in more research rather than quantitative research; especially interview and content analysis were applied. It is expected that the spectrum of information behavior research in Korea is broaden and deeper through this study.

• Journal of the Health Care and Life Science
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• v.11 no.2
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• pp.227-235
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• 2023

This study aimed to understand the relationship between ego-resilience, humor, perceived Health status, and HPB of college students in Korea. Data were collected from 285 college students. The average score of HPB was 2.49, self-resilience was 2.66, humor was 2.39, Perceived Health status was 3.42. Factors facilitated to HPB were high self-resilience(β=.28, p<.001), high awareness of health importance(β=.19, p<.001), high humor(β=.16, p=.002), taking a health-related lecture(β=.13, p=.009), middle(β=.20, p<.001) and superior(β=.16, p=.007) academic achievement, and good economic state(β=.10, p=.047). These factors explained HPB by 29.2%. The program for promote the HPB of college students should focus on strategies to recognize health importance, facilitate self-resilience and humor.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• Archives of design research
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• v.12 no.3
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• pp.83-91
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• 1999

In the late 19th century, the desire for pursuing new arts and aesthetics was evolveld and developed in various aspects in europe, and it appealed the characteristics of renovating society such as the arts and crafts movement in England. Vienna was developed in the center of the European empire under these environments, and provided the background as the main center for young artists. Vienna Art Nouveau blossomed under the mind of art pioneers that is "all arts are equal" and the Viennese political, economic, and cultural environments. They tried to show people new aesthetics under the mass-production by accepting machine. The goal of this study is to search the Secessions's role and the environment that make the base of modern aesthetics and differentiate from other Art Nouveau movements in Europe and to verify the meaning and value of that.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.470-478
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• 2017

Costume play is an act of imitating the appearance or behavior of characters in digital games, cartoons or animations. In recent years, cosplay culture has become popular in China as the digital game is made into a movie. The number of cosers has also increased. Especially, Qiwei Zoe has been very popular among cosers because her cosplay photography reflects the understanding of the cosplay culture. A number of cosers admit that her work shows a commercial and artistic potential of cosplay photography. This paper analyzed how she maintains the contents of the original but creatively reimplementing them. She shoots the fantastic image of the character like it really exists in reality so that she can avoid excessive editing work. She emphasizes the character's action that symbolizes its personality and utilizes a variety of outdoor shooting locations similar to the original scenes. We also discussed how cosplay photographers can create cosplay photography by maintaining its artistic features.