• Journal of People, Plants, and Environment
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• v.24 no.6
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• pp.685-691
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• 2021

Background and objective: Understanding abstract art as an art form requires depth of thought. Moreover, understanding land art as abstract art is challenging, given its focus on the minimalism and abstract concepts. Much focus, research, and work were actively conducted in the 1970s, as it represented an abstract expression of minimalism. The characteristics of minimalism connote abstract meanings in the use of materials. Nevertheless, the original research of works or artists has often been mentioned, but few studies have analyzed the abstract language of land art materials. The aim of this study is to thus determine the abstract meanings of materials in land art from the 1970s to the 2010s. Methods: Art-based research was employed to address the aim. This study classified the land art materials into intangible and tangible materials, where intangible materials focused on lines, circles, and labyrinths, and tangible materials focused on the earth, stones, wood, and snow. Results: Intangible and tangible materials of land art conveyed various abstract meanings. Intangible materials were reflective of connection and symbiosis with nature, delivering abstract languages of 'take-nothing,' 'reflection' and 'opportunity.' Tangible materials reflected the abstract concepts of 'intervention,' 'resistance,' 'unliving,' and 'change,' and conveyed caveats. In other words, taken together, intangible and tangible materials were presented in symbiosis-and with caveats-and delivered messages for the present and the future. Interestingly, intangible materials inherently reflect symbiosis and communicate caveats in works based on a non-contextualized present and future. Conclusion: Interpretation of the abstract languages derived from intangible and tangible materials could imply a symbiosis between humans and nature, while conveying the message that caveats, to humans, are still ongoing. This relationship plays a significant role in an artist's selection of a medium, which is reflective of abstract beliefs reflected in contemporary, nature-based works created on Earth.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.374-381
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• 2022

This study analyzes the visual perceptual difference of observers in the artworks created by human artists and artificial intelligence(AI) through eye-tracking. More specifically, the study analyzes the degree of visual attention through a fixation experiment on non-linguistic sources such as the formation and expression of artworks. As a result of this study, the subjects had guessed that one out of four artworks were created by AI (in actuality, 61.1% of the artworks were created by The Next Rembrandt). This demonstrates that most of the subjects hardly recognized the difference between the artwork of human artists and AI. From the comparative analysis of visual perceptual differences found through eye-tracking, more visual attention was found to be demanded for catching details of more stimulating visuals compared to less stimulating visuals. In the gender difference analysis, both of the female and male subjects were likely to stare more intently at the flowers of still-life paintings (Deep Dream & Vincent Van Gogh) while the eyes of a portrait painting (Rembrandt & The Next Rembrandt); this demonstrates no significant differences in gender. Various opinions on AI and art creation from different perspectives arose, therefore, this research is meaningful in a way that it suggests an objective examination through experiments with an artistic perspective.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.752-765
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• 2022

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers' designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers' design characteristics through Greimas' Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas' and Floch's semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas' semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.669-676
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• 2022

Non-fungible tokens (NFTs) have the advantage of being able to reliably manage details after minting, but how can ideas be protected before being converted to NFTs? The use of NFTs to increase the value of digital assets is increasing, but the problem of creating and selling NFTs without the consent of the creator is also increasing. Existing methods for protecting creators include a method of using a traditional authentication system and a method of using a social network, but each has limitations. Therefore, in this study, an identity token utilization method is proposed as a way to supplement the existing limitations. When an identity token is used, a certified NFT is issued through an existing identity authentication authority, so the verification of the authenticity of the token becomes clear. In addition, in inheritance and transfer, it becomes possible to respond to legal problems related to the transfer of creative rights.

• Journal of Broadcast Engineering
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• v.28 no.1
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• pp.109-123
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• 2023

Deep learning has made rapid progress in recent years and is affecting various fields and industries. The art field cannot be an exception, and in this paper, we would like to explore and experiment and analyze research fields that creatively generate 2D images in 3D from a visual arts and engineering perspective. To this end, the original image of the domestic artist is learned through GAN or Diffusion Models, and then converted into 3D using 3D conversion software and deep learning. And we compare the results with prior algorithms. After that, we will analyze the problems and improvements of 2D to 3D creative generation.

• Korean Journal of Culture and Social Issue
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• v.22 no.4
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• pp.543-565
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• 2016

The purpose of this study is to understand the experiences in family and the meaning and nature of the family which undergraduate students have when taking over traditional art as family occupation. Five students were selected who majored in traditional art in order to succeed to their family occupation and in-depth interviews with them were conducted according to semi-structured interview guidelines. Collected data were analyzed through Giorgi's phenomenological study procedures and resulted in 65 main meanings, 16 emerging themes and 7 essential themes. These essential themes consisted of 'innate talents in their blood', 'internalization of artistic family traditions', 'impetus given by the family', 'the driving force as a professional artist', 'a life like being imprisoned', 'the wall impossible to go over' and 'family occupations turning into mine .' Based on the results of this study, discussion and implications of the study were presented.

• Journal of Advanced Technology Convergence
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• v.2 no.3
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• pp.43-47
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• 2023

The purpose of this paper was to empirically verify the effect of nail list maturity on work performance and customer orientation, and analyzed 300 adult female nail beauty workers (nailists) working at nail salons across the country. As a result of investigating the research hypothesis, it was found that the maturity of the nail list had a significant effect on work performance, and the maturity of the nail list had a significant effect on customer orientation. Given the increasing number of novice nail artists, it is inferred that the maturity of a nail artist can directly manifest in procedural outcomes and revenue aspects. Consequently, strategies to enhance the maturity of nail artists are expected to profoundly influence customer orientation and job performance. There was a scarcity of prior research discussing maturity from the perspective of nail beauty or other beauty fields (skin, hair, etc.), which posed challenges in our discourse. We anticipate in-depmore th follow-up research in the future.

• Journal of the Korea Society of Computer and Information
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• v.28 no.9
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• pp.9-15
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• 2023

Metaverse is a modern new technology that is advancing quickly. The goal of this study is to investigate this technique from the perspective of computer vision as well as general perspective. A thorough analysis of computer vision related Metaverse topics has been done in this study. Its history, method, architecture, benefits, and drawbacks are all covered. The Metaverse's future and the steps that must be taken to adapt to this technology are described. The concepts of Mixed Reality (MR), Augmented Reality (AR), Extended Reality (XR) and Virtual Reality (VR) are briefly discussed. The role of computer vision and its application, advantages and disadvantages and the future research areas are discussed.

• Asia Marketing Journal
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• v.17 no.3
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• pp.105-127
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• 2015

This study compares experienced and inexperienced consumers' patterns in cue utilisation in product evaluations in the arts market. Borrowing the notion of high- and low-scope cues introduced by the cue-diagnosticity framework, we differentiate between the two most readily discernible extrinsic cues in the fine arts market - an art gallery's brand reputation (a high-scope cue) and certificates of authenticity (a low-scope cue). These two cues are different in nature; the former is more abstract, intangible, and rich in content, so is more difficult to interpret than the latter. Given the differences in experienced and inexperienced consumers' information processing styles, we hypothesise that experienced arts consumers form perceived credibility of and purchase intentions towards artworks based on high-scope cues, whereas inexperienced consumers do so based on low-scope cues. To test our hypothesis, we conducted a consumer intercept study at Korea's two most representative art fairs. The survey participants were categorised into either experienced or inexperienced consumers based on their prior purchase experience, and their responses to a set of attribute combinations about two artworks created by the same artist were collected. The results indicate that experienced participants show higher purchase intentions when an art gallery's reputation is very high, whereas inexperienced participants show higher purchase intentions when artworks are accompanied by certificates of authenticity. This congruency effect between prior experience and cue type is mediated by the perceived credibility of the artworks. The findings suggest a correspondence between a consumer's prior experience and the types of extrinsic cues that are important in product evaluations. To the best of our knowledge, this study is the first attempt ever to investigate the role of prior experience in determining when to use high- or low-scope cues. It also provides a useful frame of reference to advise marketers on the effective sales approach based on a client's prior purchase experience.

• (The) Research of the performance art and culture
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• no.42
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• pp.23-45
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• 2021

In the 1980's, Lee Geun-sam wrote critiques that analyzed North Korea's performing arts and ideology. In the critiques, he posits the following characteristics of North Korea's performing arts. First, the works are designed in such a way to befit the purpose of the authorities' policy. Second, the works embrace political ideology whose purpose concerns class struggle. During the critique process, Lee Geun-sam compares the "freedom" of the performing arts activities in South Korea and the "regulatory" aspect of North Korea's performing arts activities and reveals implicitly the superiority of South Korea's system. In addition, Lee Geun-sam criticizes the political ideology of North Korea's performing arts and objects to viewing the concept of ideology from a Marxist viewpoint. According to Lee Geun-sam, an ideology is explained as an idea system representing an artist's conscious/unconscious worldview. Also, he contends that arts should distance itself from political ideology.