• Digital Contents
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• no.5 s.132
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• pp.63-69
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• 2004

정보통신부가 주최하고 한국소프트웨어진흥원과 한국데이터베이스진흥센터가 공동으로 주관하는 2004년 디지털콘텐츠 대상 1분기 수상작이 결정됐다. 디지털영상, 온라인게임, 교육용콘텐츠, 무선콘텐츠, 웹정보콘텐츠 등 4개 부문 총 5개 작품이 선정된 이번 1분기 디지털콘텐츠 대상 수상작들은 전분야에 걸쳐 우수한 작품들이 제출되 심사과정에서도 고민이 있었다는 후문이다. 수상작들을 살펴보면 디지털영상 분야에서는 이매진하이의 트라이킹덤이 수상의 영예를 안았고, 온라인 게임 분야에서는 재미 인터렉티브의 '트라비아 온라인'과 엔트리브소프트 '팡야'가 공동으로 선정됐다. 교육콘텐츠에서는 와이즈캠프닷컴의 '와이즈캠프'가 수상했고, 모바일콘텐츠분야에서는 엔텔리젼트의 '삼국지 무한대전'이 차지했다. 이와 함께 웹정보 콘텐츠 분야에서는 북코스모스의 '국내외 북다이제스트'가 대상을 차지했다. 이번 디지털콘텐츠 대상 수상업체들은 향후 정보통신부의 해외 진출과 마케팅을 위한 각종 활동에 우선적으로 참가하는 혜택을 누릴 수 있으며, 연말에 열리는 디지털콘텐츠페어 2004전시회에 참가하고, 대통령상 후보에 오르는 자격을 얻게 된다.

• Journal of Digital Convergence
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• v.18 no.9
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• pp.337-342
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• 2020

Art work based on computer and internet media technologies such as digital art, computer art, internet art, interactive art. Through examples, we studied the interaction and communication method between the audience and the exhibition objects. It was confirmed that the new media works are expressed in a new form by fusion with various technologies of experimental propensity, and research and analysis of overseas media-related exhibition cases and interactive media use cases of works exhibited at the 'Media City Exhibition' in Korea were conducted. Was able to confirm the main characteristics of new media art. I think it will be a more meaningful study by setting specific criteria and focusing on the fields of application of new media art and comparing and analyzing the future values of the times.

• Smart Media Journal
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• v.11 no.6
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• pp.37-50
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• 2022

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.

• Korean Architects
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• no.7 s.351
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• pp.73-79
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• 1998

대한건축사협회와 건설교통부, 서울경제신문사가 공동개최하는 '98한국건축문화대상의 작품공모요강이 지난달 3일 발표되었다. 우리 건축의 본질과 이 시대의 정서 그리고 기능성이 구현된 역작을 발굴하여 시상함으로써 한국건축의 미래를 열어가고자 마련된 올해의 한국건축문화대상은 예년과 마찬가지로 기성건축인 대상의 준공건축물부문과 신인(설계업무 종사자, 대학원생 등)ㆍ학생 ㆍ일반 대상의 계획건축물부문 두 부문에 걸쳐 출품작을 공모해 오는 10월말 부문별 심사결과 발표와 함께 시상식 및 전시회를 갖는다. 특히 관심을 모으고 있는 계획건축물부문은 '도시의 흔적'이 주제로 제시된 가운데 오는 9월 21일 작품(패널 및 모형 각 1점)을 접수, 심사를 거쳐 금상 1점(상금 500만원 및 상장), 은상 2점(각 상금 250만원 및 상장), 동상 5점(각 상금 100만원 및 상장), 입선작(각 상금 30만원 및 상장)을 가리게 된다. 본지는 올해 공모전에 참여할 응모자들의 공모주제에 대한 이해를 돕기 위해 심사위원들을 초청해 지난 6월 17일 주제토론회를 개최하였다. 따라서 이번 토론은 응모자들이 주제의 보다 가깝게 접근할 수 있도록 하는데 많은 도움을 줄 것으로 기대되며 특히 토론내용 중 주제의 발제배경과 범위, 각 심사위원들의 조언 등을 종합해 참고한다면 좋은 결과를 얻을 수 있을 것으로 본다. 아울러 본지는 신인등용의 장으로서 한국건축의 정통성과 맥을 이어나갈 이번 공모전에 독자 여러분의 많은 성원과 참여를 기대한다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.97-102
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• 2020

With the advancement of technology, there are almost no constraints on expression in virtual reality (VR) art; however, it still has some limitations. VR artists can be largely classified into two groups in terms of style. The first group is artists who create their works as a live performance. In this case, a major limitation is that the artist cannot see how the audience reacts to the work because he/she wears a VR device while performing, and the audience cannot fully experience the work, since they view it only on-screen without any VR devices. This problem can be solved if all members of the audience wear VR devices; however, that requires astronomical costs and brings about another problem related to device management. If the price of VR devices decreases as technology develops, it may help solve this problem. The second group is exhibition artists who regularly display their works online. In this case, the limitation is that their work using VR remains only in the virtual digital space. In this case, a solution may be creating space in exhibition halls, and providing VR devices to audience members in existing art exhibitions.

• Journal of Korean Library and Information Science Society
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• v.28
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• pp.219-262
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• 1998

For many years art libraries have been concerned about the problem resulting from the addition of exhibition catalogs to general art collection. Those who work or research in the art field agree that exhibition catalogs are great value, and in many cases, the essays and documentary material contained in these catalogs may be the only source of information on particular artists. This paper contains two purposes. One is to settle the exhibition catalog as a specific form of publication in the library. In theoretical aspect, this material is handled in definition, form, historical development and the position and specification. Another is to manage exhibition catalog in the library. In practical aspect, this material is handled in aquisition, classification, cataloging and use.

• Proceedings of the Korea Information Processing Society Conference
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• 2021.11a
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• pp.1211-1214
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• 2021

기술의 비약전인 발전으로 콘텐츠 분야 역시 최근 상용화되어 새로운 초실감 시대으로 급격한 변화의 국면을 맞이하고 있다. 가상현실, 증강현실, 홀로그램 등 다양한 시각 정보 처리 및 표현 기술 등은 기존에 경험하지 못했던 사용자 실감형 경험을 가능하게 한다. 현재 코로나19로 인해 큰 피해를 입은 문화예술을 WebVR 전시회로 누구든 어디에서나 문화 인프라의 혜택을 받게 하며 또한 기준에 존재하던 예술인들뿐만 아니라 일반인들도 작품 전시할 수 있게 스타일 전이 기능을 넣어 사람들이 문화예술에 대한 관심을 높일 수 있도록 기대한다.

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• (The)Study of the Eastern Classic
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• no.33
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• pp.437-470
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• 2008

Woo-Suk Hwang Jong-Ha(友石, 黃宗河 1887-1952), Woo-Chung Hwang Sung-Ha (又淸, 黃成河, 1891-1965), Gook-In Hwang Kyung-Ha (菊人, 黃敬河, 1895-?) and Mi-San Hwang Yong-Ha(美山 黃庸河, 1899-?) were not only renowned writers and painters but also brothers spaced four years apart The Hwang brothers were not specially trained by educational institutions, but studied on their own, relying on picture books from China and the artpieces of masters. Even though brothers each born only four years from the next, they preferred different techniques, and the subjects they were proficient at drawing were all different to some extent: Tiger Painting by Hwang Jong-Ha, Finger Painting by Hwang Sung-Ha, Ginseng Painting by Hwang Kyung-Ha and Painting of Four Gracious Plants (plum, orchid, chrysanthemum, bamboo) by Hwang Yong-Ha are an example of this. They also showed differences in their manner of holding various exhibitions. They did, however, forge strong familial ties by holding the Exhibition by Four Brothers or by producing joint paintings. In particular, they established an art school called the Song-Do Society for the Research of Writings and Paintings in Gaesung, North Korea as a means to nurture young artists and to offer opportunities to introduce their own artwork. They were both friends and artists, as they spent their childhood together and share their thoughts and hobbies as well as their own individual and unique works of art. Moreover, they went the through ups and downs of Korean history from the end of the Joseon Dynasty through the Japanese occupation however, they strove to keep the tradition of Korean paintings alive, and even persevered in writing and drawing countless artwork with paper, brush and Chinese ink until the day they each died.

• Journal of The Korean Association of Information Education
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• v.9 no.2
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• pp.243-254
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• 2005

Along the information technology progresses, the demand for the educational application increases which derives the need for cyber education. Cyber education should take the knowledge construction model rather than the knowledge delivery model. For the educational paradigm shift by cyber education, 'Project-Based Learning' and 'Cyber Learning Community' need to be adopted. In this study, project-based cyber learning community for teacher education is developed with 5 major categories: Home(community vision, general information, project list, Q&A), project learning center(preparation for the instructional activities, group-based learning activities, presentations), meeting plaza(request for group mentoring, sharing ideas, meeting specialist, survey participating, forum participating, result presentation), references(cases of project studies, materials for project studies, materials for teacher education, general materials), management(project management, project cases, idea bank, finding partners, dialog with instructors, sharing references, sharing experiences, survey, forum).