• Journal of Science of Art and Design
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• v.2
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• Cartoon and Animation Studies
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• s.41
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• pp.133-152
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• 2015

Some artists and scientists in physics and animation originating from research on its form of expression thanks to the rapid development of the example in the late 20th century image production technology integrating existing media feature, perform a re-creation and pop culture content has been recognized as a key factor. animation of the modern emphasis is also commercial and artistic activities as show whether the artist can not be excluded that also target audience. The audience does not want only to receive offers simply 'seeing' and 'hearing' in the animation requires a more indirect mental met. the other side, the director should lead the audience to immerse myself in work as intended mystification induce the world. where a conflict occurs between the audience and the director and The director needs to have its troubleshooting point to 'Technology of the communication'. Which is reduced to 'How will tell,' is technology communication technologies that are abbreviated representations of animation director is accessible to the audience and it is a close relationship between the psychological aspect of audience. Because, the audience is reproduced in a limited space, but he called on the board of directors and the same time the screen, the audience located at reception and the director located at provide. It is given. led force is given to the director. for this reason, The director needs to pay attention to the psychological aspect of audience this can be explained based on psychoanalytic theory. In this paper, "How can you lie to the audience and the director is the same line?" put down logic that is the animation audience under the logic that takes place visually capture phenomenon "selective attention" and sub-concept of "goal-directed selection' and 'stimulus-driven capturel' for theory of psychology. also, Induction device to elicit selective attention of the audience accordingly, let's consider whether and how they apply in animation.

• Journal of the Korean Geographical Society
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• v.42 no.2 s.119
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• pp.258-279
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• 2007

Culture and art are emerging as main components in the creative economy to enhance the competitiveness of urban centres in the global market by nurturing cultural or artistic industries. A range of research exists which investigates the role of artists and art museums in the process of urban regeneration in Northern American and Western European countries. Yet research into the geography of at galleries acting as an intermediary between art works and cultural consumers remain rare. Empirical research on gentrification and urban regeneration and their connection with spaces for cultural consumption in Asian cities is even less common. The aim of this paper is to show the rise and decline of art galleries in Seoul and the way that this reflects urban development process, historically specific conditions and the characteristics of artists' communities. The background of the locational agglomeration of an galleries is examined in connection with the human ecology of artists, art business and its implication for the global market. The location of art galleries in Seoul seems to be affected by commercial art business and public policy, rather than by artists communities embedded in local areas. The location dynamics of art gallery clusters in Seoul is examined in the context of rent increases, changes of consumers' taste and fluctuating market cycles.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.385-389
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• 2020

The medical drama has developed into a story centered on 'people', raising viewers' sympathy. The story of the drama is the true life story of doctors, patients and families. It is also a story that reminds me of 'a little special day of our ordinary people'. And the song played and sung by five characters in the drama became a factor that stimulates nostalgia and increases immersion. The highest viewer rating was 14.1%, and 51,584 blogs alone were registered. According to the big data analysis, the related words were 'Wise OST', 'Album Name', 'Artist Name', 'Two Hours in a row', 'Record', 'Remake', 'OST Revealed', 'Advertisement Revenue', 'Playlist', 'Aroha' and 'Cho Jung-seok'. The commercialization of medical dramas includes 'Sales of Drama OST Albums', 'Organizing Online Live Concerts (PPL in Advertising)', 'Publishing Piano Music', 'Picture of People-Oriented Photography', 'Making Music Video Editing Drama Highlight', 'YouTube Upload Profits', 'Mask' and 'Disinfectant'. it is predicted that the touching story of Corona 19 and the charming humanity will unfold. The limitations of the research will require analysis of various works by genre and attempts to analyze consumer values by industry.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.179-186
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• 2020

Wongyo Lee KwangSa (1705~1777) is a scholar and artist who represented an era in the period of change and revival of Korean culture and art in the 18th century. In 1755 (31st Yeongjo), he was transferred to Sinjido due to the Naju Byeokseo Incident, and died in exile for a total of 23 years. He tried to correct the problems of the flow of calligraphy in common writing and the flow of calligraphy in the Joseon Dynasty, and wrote 『Wonkyo Seogyeol』. By realizing an original artistic state that is evaluated as having completed the 'Dongguk Jinche', which is a unique and subjective and self-conscious calligraphic flow of the Korean people who wants to reestablish the essence of calligraphy, it has had an absolute influence on the Honam area. Wonkyo's calligraphy aesthetics are developed into the beauty of ChanggyeongBalsog based on Shimjin of Yangminghak, Yanggangmi of Power of controlling all the stands of brush hair, and Vitality of Push out the brush with all your might. He recognized free sculpting and energetic, muscular strokes as the key to calligraphy, and suggested honing the old tombstones written in JeonYe. Vibrant stroke means that Cheongi naturally permeates in the midst of Samgwa and Gilgok, and the brush is operated with Push out the brush with all your might of Power of controlling all the stands of brush hair. These calligraphy aesthetics radiated sinchae with geungol and singi, and were expressed in Wongyo font, full of vitality as a living creature, pursuing the unique pilgrimage and pilgrimage unique to our nation, revealing the true nature of nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.118-124
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• 2020

The purpose of this study was to explore the ecological aesthetic features and the implications for ecological landscape design by analyzing the design philosophy and ecological artworks of Patricia Johanson, an ecological artist. Literature review and a field visit were conducted to investigate Johanson's four art projects that express the functional purpose, artistry, and locality of symbiosis with nature and restoration of ecosystem habitats. As the results of analysis, first, Johanson's work created 'functional art work' and 'artistic infrastructure'. Second, the historical and regional characteristics were expressed artistically and symbolically. Third, Johanson is characterized by connecting humans and nature through the publicity of works of art, and raising the awareness of preservation of nature and environment among the community and children. Johanson's innovative works can provide inspiration for landscape architects pursuing functional and sustainable landscape design.

• Archives of design research
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• no.16
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• pp.213-223
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• 1996

Illustration has been used as a means of human communication since the primitive age. And now it has become a way to express impliedly either the fragmentary or the psychological side of our life. Like it has been said in peter knock's Illustration magazine, an artist said "it was the best article ever read." Illustrator's task is to abstract and practically describe not our daily life, but every moment of the perception an object, whether it is define or indefine. It can inspire stronger perception than any other elegant language. Addition to that the practical use of illustration is increasing ever day. The target has now become various such as man, nature, art, science and so on. Therefore, at this point what illustration requires is creation, new and striking idea. It is because in order to get in to the general's living in the complicate and various society, it must show unique images and appearance. Therefore, now the illustration should induce the work which is based on synetics thoughts, not simple improving skill. Now we must restrain futional and diagrammatic illustration education and be able to thik of free and abundant characteristics. It will eventually help students to feel the value of human life and free themselves from the reality of present education which is getting machinized and instrumentalized.entalized.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.97-102
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• 2020

With the advancement of technology, there are almost no constraints on expression in virtual reality (VR) art; however, it still has some limitations. VR artists can be largely classified into two groups in terms of style. The first group is artists who create their works as a live performance. In this case, a major limitation is that the artist cannot see how the audience reacts to the work because he/she wears a VR device while performing, and the audience cannot fully experience the work, since they view it only on-screen without any VR devices. This problem can be solved if all members of the audience wear VR devices; however, that requires astronomical costs and brings about another problem related to device management. If the price of VR devices decreases as technology develops, it may help solve this problem. The second group is exhibition artists who regularly display their works online. In this case, the limitation is that their work using VR remains only in the virtual digital space. In this case, a solution may be creating space in exhibition halls, and providing VR devices to audience members in existing art exhibitions.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Journal of Gifted/Talented Education
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• v.23 no.6
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• pp.1019-1034
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• 2013

The purpose of this study is to investigate the characteristics of convergence gifted students through the their perception of the differences about scientists between Science class and Convergence class in gifted science education center. Consequently, this article reports that there are differences in the perception about scientists was distinction between applicants of Convergence and Science class. Science class applicants mainly recognized scientists as pure scientists, but Convergence class applicants recognized scientist were including mathematician, artist, architect, etc. Also Convergence class applicants thought that affective domain including 'effort', 'patience', 'interest' was more important that Science class applicants. On the other hand, when they described the scientists, Science class applicants knew their achievements as scientists more specifically than Convergence class. And to conclude, the characteristics were different between Convergence and Science class applicants in gifted science education center. Based on the result of this study, this paper suggests the following: Firstly, conceptual study is urgent about convergence gifted students in their definition and characteristics. Secondly, information regarding the criteria to select student for convergence class in gifted science education center. Finally, when teaching convergence gifted students, attention should be paid to their characteristics such affective domain.