• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.

• Archives of design research
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• v.18 no.3 s.61
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• pp.209-218
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• 2005

Consciously or not, producers have to make many aesthetic choices in creative process of video production. If there are general acceptable aesthetic principles to make right choice it would be guideline of aesthetic decision to somewhat reduce mistakes and errors in the process. This paper proposes a theoretical approach on establishing the media aesthetic principle of 3D animation camera working, which is the most suitable for animation production context. We describe the Herbert Zettl's applied media aesthetics related directly to the camera, which is about the two-Dimensional field focusing on aspect radio and forces within the screen, three-dimensional field focusing on depth, volume, and four-dimensional field focusing on time and motion. In order to have theoretical approach we made an analysis on comparing a camera working of movie with 3D computer animation's one, and reconstructed these basic principles to be suited for the 3D animation production. When applied media aesthetics of the traditional camera working are applied to the 3D animation production, it could be an efficient guideline for it. Futhermore, if we develop the research for the relationship with various visual languages with the basis of these principles, the theory of creative picture composition method for the 3D animation production will be logically and systematically established.

• Journal of Korea Multimedia Society
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• v.17 no.7
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• pp.895-905
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• 2014

Recently the trade show is a massive marketing effort of a particular industry and introduces new products to potential customers, as well as the ability to elevate the brand's image and corporate identity. It is increasing its importance as a venue of communication. In these changes, the exhibition is required to have the emotional approach to enhance the dynamic and creative image of companies. Therefore, the product itself as well as the importance of various visual contents of the exhibition is increasing positive effect of the image and marketing on their products. In this sense, this study analyzes video contents of the exhibition that was held in Amsterdam, the Netherlands, Europe's largest display show 'ISE (Integrated Systems Europe)' in 2013, focusing on the domestic company, Samsung, LG Electronics and other four foreign companies. The analysis is based on the Herbert Zettl's applied media aesthetics related to the video contents, through which we can find the way to the development of exhibition video contents making for Trade show.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.66-72
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• 2010

The purpose of this study is to pronounce design trends in contemporary architecture collaborated with new media art concept. Currently, the prevalence of media presence has evolved perspectives on contemporary aesthetics today. To make clear demonstration on the issue, this study categorized new media art's expressional characteristics applied in the contemporary architectural design in conjunction with analytical researches on typologies and expressional characteristics appear in new media art. More specifically, the study selected architects who adopted new media art's expressional characteristics into their works from the year 2000 and performed analytical case studies with regard to the effect of the new media art into their architectural practices. By following methodologies mentioned above, conclusively the study categorized distinct expressional characteristics appears in contemporary architecture as a result of merging with new media art. The characteristics of the new media art appeared in contemporary architecture are categorized into three groups such as the design controlling external environment, the design utilizing web environment and the design participated by users. These observation could be translated that architects could present interactive design between users and building as a result from architect's capability of designing protocols which generate variable forms, colors and patterns in architecture. In particular, architecture utilizing web environment has characteristic capability of configurating user's program in virtual space. Also it is anticipated to suggest new patterns in generating architectural programs and forms. These patterns would not recognize the city merely as an incident or fragmented image but would configurate forms and images constructed by individual notional character. In conclusion, the architecture itself is expected to perform as media to open up opportunities that enables to contribute in expediting interactions among environment, users, and buildings by deviating from perspectives of representation as an object expressed in modernism architecture or as a classical decoration in post-modernism architecture in the past era.

• Archives of design research
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• v.13
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• pp.123-137
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• 1996

Weaving, is an ideal subject for study to designer who is concerned with interrelationship between art and technology. Double cloth is a two layered fabric that can be woven on the loom with more than 4 harnesses, is often used to produce special woven fabric such as double width fabric or reverse pattern fabric, etc, in textile industry. Because of the attractive characteristic of two layered structure, double cloth technique can be applied as expressive media in fiber art requiring aesthetics and creativty. in the work, the concept, types, and characteristics of double weave have been studied through literature survey and sample production and the potential characteristics of this technique is, especially, emphasized by analysing the representative works of artists specilized in a double weave. Double weave technique can provide various images or forms throught the variation of structures and expressive styles and therefore suggests another characteristic expression creative means for weaver to develope.

• Korean Institute of Interior Design Journal
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• v.18 no.2
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• pp.41-49
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• 2009

Contemporary design environment is formed with image-centered trend based on pluralism. In this point of view, enterprises' building lobbies are public places containing the equivocal meaning, actively utilizing light as a design element to express the image of enterprises' identifications. Light is an immaterial entity having unlimited possibilities and potentials on space. It also acts as media to activate spaces and create new images in connection with formative elements of space. This study is to figure out how lightings are expressed and affected the formative characteristics of office lobby spaces and activate the specific characteristics of spaces. As a result, we drew conclusions as follows. First, as state-of-the-art technology and media are introduced, light is expressed on spaces as floating, direction, rhythm, silhouette, metaphor and allusion, sense of depth and volume. Second, expressive aspects of light in lobby space are embodiment of light, substantiation of immateriality, standing of materiality from the perspective of spatial aesthetics, and distortion/transformation of shape, pluralism phenomena of space from the perspective of spatial structure. In this way, light on building lobbies which are greatly required design differentiation strategy, specializes space and also integrates all the designs as not only a functional element but also a mental, psychological, formative element. Consequently, light on lobby spaces induces communication between spaces and users, makes formative value of existence in itself, and presents the characteristics of differentiated enterprises' identities.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.109-114
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• 2008

We have long kept our Cartesian tradition in which Mind privileges over Body; the invention of printing technology has accelerated the tradition in which the intelligence and legibility of media were considered as a higher human value. However, the development of media and technology are supporting the multisensory mechanisms of the body as it was in preliterate era when we communicated with our whole bodily experiences. The development and spread of mass-media and new technologies have broaden the boundary of human sensory that are largely dominated by visual information and expanded it to auditory, olfactory and even gustatory sensation. Since 1960's, some philosophers and artists have recognized the human body as a subjective matter, starting the movement in which the body plays a role as an essential factor in study of human perception and cognition, aesthetics in art, and sociology, and the changed perspectives are practiced vigorously in the field of new media art; the theory of Maurice Merleau-Ponty who clarified the body as a general means for the body's possession of world, so that recognize the importance of cognition of one's body and approved the embodiment could be applied and practiced here. Therefore, we discuss how Merleau-Ponty's philosophical theory can be practiced and how McLuhan's perspective could be applied on the notion of body's extension in media by analysing some new media art cases.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.137-143
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• 2021

This discussion can be said to be a qualitative study on the possibility of linking communication education for college students and literacy education for Korean language-linked educators based on the theory of interpretation of cognitive meaning of media text containing complex mechanisms. The implicit meaning of media content expression used as an interactive communication strategy will be accepted as a multilateral interpretation according to the individual learner's cognitive environment. If so, how is the general media content meaning intended by the content creator being accepted? These doubts are the starting point for discussion. To solve the problem, I leaned on the experimental pragmatic methodology of cognitive aesthetics and applied a model of relevance of cognitive linguistics to connect learners' creative cognitive environment and present content to find a contrast. As a result of the discussion, it was possible to establish a basic framework for learners to express their subjectivity and creative thinking that could connect the cognitive environment and present content themselves. In particular, active and positive learners also revealed direct descriptive expressions to build a new cognitive environment, such as suggesting a third alternative to argue the ability to question produced media texts and the validity of the meaning implied in the text. In the future, since media text containing complex mechanisms is an indirect and persuasive communication behavior that occurs easily through various media in modern society, the universal communication principle of reliable conversation between media text creators and audiences should exist.

• Archives of design research
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• v.17 no.3
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• pp.335-342
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• 2004

Recently there have been various research activities regarding Korean traditional aesthetics. However, those researches were mainly conducted individually, partially, and periodically, which resulted in unsystematic and incomprehensive works. Therefore, it is required to orginze all the precedent research works with more systematic and objective framework. Generally speaking, all the human activities including aesthetic activity have ends, procedure and means. In other words, human being needs three key elements for realizing any thought and those three elements include contents, formal, and practical element. Element of contents is ultimate goal to accomplish as value, concept, and meaning of thought with their aims. Formal element includes methods, principles, norms, procedure, formality and style comprising of thought in order to accomplish the goal. Finally, practical element refers to specific means, tool, media, material and techniques to concretize the contents through form. Almost all of thoughts and meaning which human being tries to express consist of language. Major elements in sentence include 'subject (omissible)' , 'objects (aim)', 'predicate (formality)', 'complement (means)' and they are composed systematically and hierarchically with rules in sentence. The study compared human activity model with language structure and analyzed their implication with design (aesthetics), which made it possible to propose analytic frameworks for traditional aesthetics. In addition, the study also systematically organized the way to realize traditional aesthetic value in the present context based on the methods developed in this study.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.123-127
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• 2010

Innovation in technology has changed the form and meaning of performance work and its appreciation in its long history. Applied to performance art, the concept of digital media and ubiquitous also created new implications in aesthetics and technology. As a matter of fact, new elements of ubiquitous performance- new relationship between creators and the audience and the extension of the notion of 'audience'- are not newly introduced. These elements have been tried throughout hundreds years of performance history and is far more developed thanks to digital communication. In this study, we will discuss how these elements have been developed from the earlier text-based ubiquitous performance to 3D virtual world and contributed to the construction of the virtual culture.