• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.128-141
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• 2006

The purposes of this study are to consider characteristics of 'movement expression' that are not discovered in preceeding design studies in order to suggest 'movement expression' as a design formative principal and to make clothes which follows this idea. For the method of this study I used various literature about 'movement expression' as theoretical background and analyzed modern clothing in which 'movement expression' is expressed by collecting magazines including foreign collections from 1989 to 2004 and searching the internet. The results obtained from this study is as follows. First, clothing in which 'movement expression' is expressed removes monotony and tedium of clothing design, provides visual interest and satisfaction for clothing, and delivers designers' concept effectively by attracting a gaze quickly. And It is suggested a new division of 'movement expression' through analysis of the 'movement expression' expressed in clothing. It included the intentional movement by wearers, which is the 'movement expression' of broader meaning such as changes of form or position by a certain operation and changes of existence or function. This movement is not fixed and repeated but changes continuously. As a result of including the design expressing the intentional movement by wearers, one's own personality can be expressed more effectively. It is presented a design which has changeable movement expression continuously.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.163-177
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• 2019

This study is concerned with "fiction" as a new form of writing over the limits of the post-modernist theater/arts. Fiction is not something illusory that demands the audience's empathy but something that unveils form's disinterest in content. Thus, in this paper, I examine a fiction as the opposition of any representational norm and words' old mimesis. Rebutting the crisis of post-modern art and the end of images, philosopher Jacque $Ranci{\grave{e}}re$ mentions the possibility of appropriating similarity in an imitative way by twisting Platonic mimesis. The image of this similarity wanders alongside the loss of signification, unmasking the form's indifference to content. These wandering words represent their own truth "in a way fossils or grooved stones encapsulate histories" as hieroglyphics. This "fiction" as an alternative of post-modernist plays is not any confrontation of reality but the "movement of thinking" that allows the human spirit to play in a way of shaping "some substantiality." In this sense, I examines works by two French writers, $Jo{\ddot{e}}l$ Pommerat (1963~) and Jean-Claude Grumberg (1939~ ) who have carried out their writing practices of appropriating similarity that dissolves any simple "immediate reflection" for non-intermediate relations between the producing and the produced. Their writing is a cross of literary creation and "le politique" as a new aesthetic practice of writing and reveals the movement of thinking, departing from the preexisting concept of fiction.

• Journal of Digital Convergence
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• v.13 no.3
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• pp.263-270
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• 2015

The development of technology has always been influencing the worldview of the time, and this has been embodied through artistic media and contents throughout history. This paper begins with an overview on how the notion of movement in art has developed with the juxtaposition of materiality and immateriality or the conversion between the two by rethinking Kinetic Art which was popularized in the mid-twentieth century in America and Europe. Then, this is compared with New Media Art which employs advanced digital media techniques to generate virtual images. New Media Art requires some kinds of physical mechanisms and space for the embodiment of virtual images to some extent. The coexistence of material and immaterial aspects of New Media art is investigated through the contextualization with certain aspects of Kinetic Art.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.6
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• pp.897-906
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• 2017

Projection Mapping, also known as Spatial Augmented Reality(SAR) has attracted much attention recently and used for many division, which can augment physical objects with projected various virtual replications. However, conventional approaches towards projection mapping have faced some limitations. Target objects' geometric transformation property does not considered, and movements of flexible objects-like paper are hard to handle, such as folding and bending as natural interaction. Also, precise registration and tracking has been a cumbersome process in the past. While there have been many researches on Projection Mapping on static objects, dynamic projection mapping that can keep tracking of a moving flexible target and aligning the projection at interactive level is still a challenge. Therefore, this paper propose a new method using Unity3D and ARToolkit for high-speed robust tracking and dynamic projection mapping onto non-rigid deforming objects rapidly and interactively. The method consists of four stages, forming cubic bezier surface, process of rendering transformation values, multiple marker recognition and tracking, and webcam real time-lapse imaging. Users can fold, curve, bend and twist to make interaction. This method can achieve three high-quality results. First, the system can detect the strong deformation of objects. Second, it reduces the occlusion error which reduces the misalignment between the target object and the projected video. Lastly, the accuracy and the robustness of this method can make result values to be projected exactly onto the target object in real-time with high-speed and precise transformation tracking.