• Korea Information Processing Society Review
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• v.18 no.4
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• pp.26-34
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• 2011

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• Archives of design research
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• v.16 no.3
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• pp.33-40
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• 2003

With the view of an art history, 3D Animation is one of the media that was anxiously solved the issue of time and space by traditional painters, however it still could not acquire the proper position in the art field due to compromising commercialism. This is the result of devaluating for the possibility of art itself and it is only a matter of the range to apply 3D animation. In order to obtain a proper position for an art genre, previously it can be focused on how to visualize the 3D animation from our perceptions. 3D animation should not ding to the realism, it can be understand in the way of a narrative relation between the description of objects and the objects itself, further more it will be illustrated as whole units. After the aesthetical reflection, 3D animation production can be defined as an art genre and also independent from commercialism. Therefore this paper is the first step for improving 3D animation as an art and trying to discuss the way to observe 3D animation.

• 프린팅코리아
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• s.7
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• pp.52-59
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• 2003

우리가 살고 있는 21세기를 일반적으로 '문화의 세기' 라고 말한다. 문화란 비단 예술이나 문화재같은 것만을 지칭하지는 않는다. 문화는 인간이 자연에서 벗어나 역사를 통해 만들어 온 문명과 그 밖의 모든 총체적인 자산을 의미한다.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.462-467
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• 2006

이 연구는, 대중매체를 미술에 도입한 미디어아트가 대중에게 긍정적인 평가를 받고 있고 콘텐츠의 범위가 증대되고 있는 시점에서 총체적 의미의 사회자본이 된다는 가능성의 연구이다. 이러한 가정 하에 현시점의 미디어아트와 대중의 유대관계, 그 커뮤니케이션의 변화 양상에 대해 몇 가지 사례를 중심으로 살펴보고자 한다. 미디어아트가 사회자본으로서 영향을 미치기 위한 전제를 세가지로 분류하였다. 첫 번째, 사회 참여적인 미디어 장치로서 저널리즘의 속성을 가진 미디어아트, 두 번째는 다양한 문화활동의 프로토타입이 되는 미디어아트, 세 번째로는 일상공간에서의 미디어아트이다. 대중매체의 이용이 사회자본의 구성 요소인 신뢰와 사회적 연계 망에 미치는 효과에 대해서는 기존에 발표된 연구들과 2003년 수행된 대규모 매체 이용행태 자료에서 이미 검증되었다. 디지털미디어아트가 사회자본의 하위구성 요소인 신뢰와 정치참여, 문화적 아이콘으로서의 역할 및 예술생산품으로서의 기능에 대해서는 현재 국내에서 대중과의 소통을 위한 미디어아트의 시도가 점차 증가되고 있는 추세이다. 웹 아티스트, 미디어 아티스트로 알려진 '장영혜중공업' 은 온라인미디어를 통해 현대사회의 정치적, 사회적 이슈와 화두들을 강력하게 표현하고 있고, 대중매체의 조명을 받고 있는 아티스트 '낸시랭' 은 'SSAMZIE' 브랜드를 통해 예술의 문화적, 경제적 활동에 새로운 모델을 제시하였다. 사용자에게 총체적인 경험을 제공하는 일상 생활공간 속에서의 미디어아트는 예술의 대중화를 실현하고 있으며, 일상에서의 경험으로 인하여 대중에게 시각적, 과학적, 심미적 즐거움을 주고 있다. 이처럼 디지털미디어를 이용한 예술은 인터넷을 비롯한 대중매체를 통해 디지털미디어아트의 공적 신뢰를 확대시키고 콘텐트의 범위와 가치를 증대 시키며, 사용자경험의 폭을 확대시켜 점차 새로운 가치체계를 형성해 나갈 것이다. 이는 디지털미디어아트가 사회자본으로서 아직은 미약하지만 사용자의 조작과 참여의 경험으로 인해 디지털 세대에게 적합한 문화아이콘을 만들어 나가며, 사회의 새로운 이용자 패턴, 참여 의식의 확대, 예술의 대중화로 인하여 미래 우리의 삶을 구성하는 사회자본이 될 것으로 그 가능성을 전망해본다.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.115-123
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• 2016

In the turn of the twentieth century, Vienna emerged as a great cultural centre that stood at the forefront of developments in music, psychology, and the natural sciences. Equally influential, and still tremendously popular today, are the designs of the Wiener $Werkst{\ddot{a}}tte$ a group that was at the heart of the city's cultural scene and whose collaborators included such luminaries as the architect Josef Hoffman and the designer Koloman Moser under the slogan of Gesamtkunstwerk. The term "Gesamtkunstwerk" was introduced in the romantic period. It describes the desire for and practice of combining various art forms into a whole, such as performances that combine text, visual arts, various design and architecture. Richard Wagner was one of the early theorists of the concept, inspiring many modernist artists. As a co-founder of the Wiener $Werkst{\ddot{a}}tte$, Josef Hoffmann had a decisive influence on modern Viennese architecture and Interior design on the basis of the concept of Gesamtkunstwerk. In this view point, this study is to analyze about the generative background and design characteristics of gesamtkunstwerk advocated Wiener $Werkst{\ddot{a}}tte$. Josef Hoffmann was by all accounts a very successful architect and Interior designer in Vienna. His influence would undoubtedly have been felt simply because of his talent and energy. His special ability to range across multiple domains, coupled with a willingness to collaborate with other artists has created a synthesis and synergy that is compelling to this day.

• Digital Contents
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• no.1 s.140
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• pp.100-101
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• 2005

세계적인 미디어 예술 축제로 자리를 잡아가고 있는 서울 국제 미디어아트 비엔날레(미디어 시티 서울 2004)의 막이 올랐다. 올해로 3회를 맞은 이 비엔날레의 주제는 '게임,놀이' 15일 개막해 오는 2월 6일 까지 40여일 동안 서울시립미술과 전관과 서울시 일대에서 펼쳐진다. 이번 비엔날레에서는 우리 일상생활에서 경험하는 게임과 놀이의 각종 게임과 유희에 담긴 사회문화적 메세지들을 총체적으로 살펴볼 수 있는 자리다.

• Journal of Gifted/Talented Education
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• v.22 no.1
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• pp.87-115
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• 2012

This study is about the development of an identification model for artistically gifted students from low income and/or multi-cultural families. Given that parental support at early ages is crucial for talent development, students from low income families are often dismissed in recognizing their artistic giftedness. Based on a comprehensive literature review and consultations with experts in art, the SMC model was developed to identify disadvantaged gifted students in the areas of music, visual arts, and ballet. The model consists of three steps of identification, such as review of documents and teacher recommendations, evaluations of artistic giftedness, and a summative evaluation, and involves multiple criteria for identifying giftedness in both domain general and domain specific arts. SMC is promising in discovering many unrecognized disadvantaged children of artistic potential, thereby using various quantitative and qualitative measures. Yet, issues of validity and reliability of SMC need to be substantiated by subsequent theoretical and empirical studies.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.88-99
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• 2016

Traditional Performing Arts is a key element of national competitiveness that represents the identity of a country. Preserving traditional performing arts such as traditional culture overall aggregate such as literature, art, music, dance, theater and enable it to meet future national culture is to secure a competitive brand. Meanwhile, it shrouded in advance global success of K-pop and TV content, such as our popular culture, but our traditional performing arts sector, there has been a steady effort to receive the attention of the world and expanding capacity and performance. Now, this point will be a new policy approach needed to expand more popular in both domestic and world demand in traditional performing arts. In this study, we propose a strategic plan to raise the popularization and industrialization of our own needs and unique traditional performing arts opportunities for successful overseas expansion and promotion of the content of traditional performing arts.With the help of information technology.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.163-175
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• 2019

The purpose of this study is to examine the effects of integrated art therapy on the self-esteem of children who experienced domestic violence. In order to find out whether there is an effect, we used the nonparametric statistic as a quantitative study to verify the difference of self-esteem. In qualitative research, I used the dynamic familyization, sentence completion test, program report, feedback journal, and observation log from researcher and assistant therapist so as to get the deep understanding of their inner world. This study conducted a trauma test for 49 children in grades 4-6 from one elementary school in a city of Jeollabukdo Province. As a result, there was a significant increase in total self-esteem including their social life. family life, and school life after the program was implemented. Also, integrated art therapy promoted general perception and specific perception of self, which affected total self - esteem, social self - esteem, family self - esteem, and school self-esteem. So, it improves the self-esteem of children who have experienced domestic violence, In order to improve peer relations and interpersonal relations, if integrated art therapy is carried out in schools or institutions in the future, it will be possible to reduce social cost and distance.