• Korean Institute of Interior Design Journal
• /
• v.13 no.2
• /
• pp.10-19
• /
• 2004

In order to attain unique aesthetic value, diversity of meanings of Fusion Design, 'openness', requires meaning interpreting process(communication) which harmonizes and combines new codes suggested by authors(senders) and codes interpreted by public(receivers). For this harmony, we should consider all the art aspects(integration of synchronic and diachronic, anti-rationalism ideology, negative concept) that are bases of creativity of Fusion Aesthetics. Moreover, we can approach open thought system of Fusion Design through theories of Entropy and Rhizome. This point of view which allowed a categorical means of natural science theory to be used in design context changed a methodic or interpretative perception. Not only in art interpreting process does Fusion Design take openness as one of its necessary factors but also in creating process, which enables a work of art to be opened at the maximum. In conclusion, the significance of fusion design is to suggest an ideal model of communication abstracted from open art works.

• Journal of Information Technology Services
• /
• v.10 no.4
• /
• pp.269-280
• /
• 2011

Mobile Augmented Reality (mobile AR), as one of the most prospective mobile applications, intends to provide richer experiences by annotating tags or virtual objects over the scene observed through camera embedded in a handheld device like smartphone or pad. In this paper, we analyzed the current status of the art of mobile AR and proposed a novel Points of Interest (POIs) data model based on ontology to provide context-aware information retrievals on lots of POIs data. Proposed ontology was expanded from the standard POIs data model of W3C POIs Working Group and established using OWL (Web Ontology Language) and Protege. We also proposed a context-aware mobile AR platform which can resolve three distinguished issues in current platforms : interoperability problem of POI tags, POIs data retrieval issue, and context-aware service issue.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.27-48
• /
• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• KSII Transactions on Internet and Information Systems (TIIS)
• /
• v.15 no.4
• /
• pp.1275-1292
• /
• 2021

As a fine-grained classification problem, aspect-level sentiment classification predicts the sentiment polarity for different aspects in context. To address this issue, researchers have widely used attention mechanisms to abstract the relationship between context and aspects. Still, it is difficult to effectively obtain a more profound semantic representation, and the strong correlation between local context features and the aspect-based sentiment is rarely considered. In this paper, a hybrid attention capsule network for aspect-level sentiment classification (ABASCap) was proposed. In this model, the multi-head self-attention was improved, and a context mask mechanism based on adjustable context window was proposed, so as to effectively obtain the internal association between aspects and context. Moreover, the dynamic routing algorithm and activation function in capsule network were optimized to meet the task requirements. Finally, sufficient experiments were conducted on three benchmark datasets in different domains. Compared with other baseline models, ABASCap achieved better classification results, and outperformed the state-of-the-art methods in this task after incorporating pre-training BERT.

• Journal of Science of Art and Design
• /
• v.6
• /
• pp.226-248
• /
• 2004

The researcher has tried to develop the aesthetic value of the art and the function of metalwork in conjunction with our daily life. especially has been eager to develop the new possibility of metal urns through the investigation of ordinary metalwork. Funeral urns are vessels to fill the ashes of bodies. As the social issues, including problems of restricted land territory and environmental pollution are awakening, many people are much concerned about the use of urns in recent days. Although social concerns about cremation and urns are getting high, most urns in Korea have been made of ceramic and stone. The shape of old urns are pot style with lids, and their color is simple white or jade green. Moreover, old urns are expensive, unpractical, simple, and furthermore, the feature of urns has not preserved the sense of beauty. In this context, we have narrow choices to select urns, and it has been difficult for us to be familiar with the old-style urns. Therefore, the need for developing metal urns are necessary as the increase of public concerns towards cremation is widely spreading. As it is well known, metal is not only regarded as hard, antibacterial, pro-environmental material , but also regarded as good substance for urns. Metal is also suitable for making urns because of metal's characteristics of easy processing, mass production, and cheap price. The researcher has been tried to find the possibility of art of metalwork through the dissemination of metal urns to the public. The researcher has also attempted to represent the characteristics and symbolic implications of contemporary metal urns for ordinary people to adopt metal urns as their 'Rite Haven'.

• Korean Institute of Interior Design Journal
• /
• v.17 no.1
• /
• pp.69-76
• /
• 2008

The purpose of this study is to analyze the interior characteristics of the Yale center for British art by Louis I. Kahn. As his last realized project, the Yale center for British art shows Kahn's latter architectural thoughts about exterior/interior, space/structure and theory/practice. Kahn arranged unit space(room) around two interior courts and laminated them vertically. This spatial configuration is the result of solving the urban context which needed the continuity of street and complicated program including art museum, retail shop, studio and library. Although Kahn adpted severe formal configuration, he added changes to spatial relation. The visualization of architectural system is realized by revealing the relation of the unit space and structure. And this emphasized the presence of the center. The emphasis of tectonic expression is also the characteristics of interior in that structure is the logical part of whole building system rather than concealing object for the exterior of buildings. In the Yale center for British art, interior characteristics are summarized as spatial configuration based on the relation between unit space and two courts, the visualization of structural order, and the relationship between structure and light.

• Journal of Korea Multimedia Society
• /
• v.23 no.4
• /
• pp.615-624
• /
• 2020

By enabling musicians to freely control the elements involved in sound production and tone generation with a variety of timbre, synthesizers have revolutionized and permanently changed music since the 1960s. Paik-Abe Video Synthesizer, a masterpiece of video art maestro Nam June Paik, is a prominent example of re-interpretation of this new musical instrument in the realm of video and audio. This article examines Paik-Abe Video Synthesizer as an innovative instrument to play videos from the perspective of audiovisual art, and establishes its aesthetic value and significance through both artistic and technical analysis. The instrument, which embodied the concept of image sampling and real-time interactive video as an image-based multi-channel music production tool, contributed to establishing a new relationship between sound and image within the realm of audiovisual art. The fact that his video synthesizer not only adds image to sound, but also presents a complete fusion of image and sound as an image instrument with musical characteristics, becomes highly meaningful in this age of synesthesia.

• Korean Institute of Interior Design Journal
• /
• v.18 no.6
• /
• pp.142-149
• /
• 2009

User and media are in close coalition with each other in the 21st century's era of New-Media. The new users exposed to the New-Media environment have a complete understanding of the digital media environment, and are also taking on the role of an active identity in the formation of culture in new media. In the field of spatial design, creative spatial interfaces designed through various methods derived from the New-Media environment and technology that weren't even imaginable in the past ultimately came to exist in a mutual relationship with the user, the people. This study is in the same context as studies looking into the establishment of design in media art and digital media space in the New-Media environment. Media art is an outcome arising from the demand towards new art combined with the attempts towards accepting various media as a means for artistic expression. Media art seizes to being a mere part of art, but more. This study aims to look into the theoretical basis of New-Media and define the design process through the expressional characteristics and triggered thoughts thereof. Lastly, the results of the research will be put together to produce the final results. Such analysis process will be the basis of the creation of a new paradigm and spatial thought, and allow people to be concerned about the various changes in spatial formation.

• Cross-Cultural Studies
• /
• v.36
• /
• pp.61-95
• /
• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.

• East Asian Journal of Business Economics (EAJBE)
• /
• v.11 no.3
• /
• pp.37-45
• /
• 2023

Purpose - This research contributes to the existing literature by shedding light on a unique intersection of creativity and leadership, carving out a niche that calls for further exploration. Thus, this study addresses the questions regarding how creative leadership manifests within the context of art education and what the distinct types of business leadership from applying creative leadership principles are in art education? Research design, data, and methodology - This research is made up of two stages to collect textual data from the literature. The first stage involves screening titles and abstracts to weed out studies that overtly lack alignment with the research's focus. The second stage involves a full-text review of the remaining studies to ascertain their suitability based on the research objectives. Result: There are four types of business leadership on Creative Leadership in Art Education, such as Visionary Artistic Leadership, Collaborative Expressionist Leadership, Adaptive Impressionist Leadership, Experimental Abstract Leadership, Experimental Abstract Leadership. Conclusion - The research could conclude that 'Visionary Artistic Leadership' offers practitioners a compelling strategy for igniting innovation within their teams and organizations. HR practitioners can foster a culture of daring creativity by encouraging leaders to embrace visionary thinking. To implement this style, HR professionals can nurture individuals strongly inclined towards innovative ideation.