• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.21 no.1
• /
• pp.97-102
• /
• 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
• /
• s.39
• /
• pp.111-132
• /
• 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
• /
• v.23 no.6
• /
• pp.1019-1034
• /
• 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.

• Journal of Gifted/Talented Education
• /
• v.23 no.3
• /
• pp.355-371
• /
• 2013

While many research focused learners as those who excel in mathematics or science, the identification of learners with potential or demonstrated talent in visual art has also been the meaningful research topic. Since these learners exhibit high performance capability in intellectual, creative and artistic areas, they require services or programs not ordinarily provided by the schools. This research tried to clarify what high performance means when speaking of learners with outstanding talent in the visual arts based on the relevant literature. Also, this research introduced the recent trends in the field of art gifted and talented education. In order to demonstrate critical issues and find new directions in art education for gifted learners, this research conducted the survey, and this survey target group was arts high school students. Based on the survey analysis, this research conducted the semi-structured interviews with focal participants including the teachers and an artist. Interviewees generated many meaningful issues, and interview analysis reconceptualized art education for gifted learners as following. 1) Gifted education should consider learners' excellence, equity, troubles, and struggles that often go unnoticed. 2) We should reform the criteria, standards, and strategies in finding art gifted learners. 3) In order to facilitate meaningful and creative art education, higher education institutions need to change the current college entrance exam. 4) The goal of gifted art education is not only raising the world-class artists. 5) Meaningful art education for gifted learners is in interaction with the environment including group dynamics, parents influence, and teachers.

• Journal of KIISE:Computer Systems and Theory
• /
• v.28 no.9
• /
• pp.415-423
• /
• 2001

Recently, there are many attempts to reproduce real world fine art pieces in digital forms. The digital representations are convenient to store and/or transmit. In contrast, mobiles, or moving sculptures, such as those designed by Alexander Calder cannot to reproduced realistically by usual reproduction techniques. Since mobiles are originally designed to generate motions in response to external forces applied to it, people could not fully enjoy them through photographs or static images. We present a virtual mobile system where use can easily control the mobile and can feel the impressions that the artist originally intended to provide. A real-world mobile is reconstructed in a three-dimensional physically-based model. and then virtual wind is generated to give motions to it. The motions of the mobile are generated by constraint dynamics and impulse dynamics techniques, which are modified to fully utilize the characteristics of the mobile, and finally give interactive displays on the PC platforms. The techniques presented can easily be extended to simulate other interactive dynamics systems.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.67-84
• /
• 2005

Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

• Cross-Cultural Studies
• /
• v.19
• /
• pp.39-77
• /
• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Review of Culture and Economy
• /
• v.17 no.2
• /
• pp.185-216
• /
• 2014

It has been two years since the national certificate of Arts & Culture Education Instructor(ACEI) was implemented the 2012 amendment to the Arts & Culture Education Act. Separate from the initial policy goals, students who attend the program to achieve ACEI certificate share various expectations, motivations and intents. The purpose of the research is to understand the collective identity of future ACEIs to evaluate the initial policy implementation during the period when the collective professional identity has not been fully formed yet. This research studies the data that were collected from 172 students who were attending one of the official ACEI institutes in Seoul area. As one of qualitative research methods, Questionnaire Method was employed to conduct this phenomenological study. James E Marcia's theory provides the theoretical framework for the data analysis of this study. The research results indicate that many students'identity status are between Identity Diffusion and Moratorium, which raises concerns for both arts and cultural fields as well as the policy success. Therefore, this research will relate these findings to the larger arts and culture infrastructure in order to better prepare them as arts and cultural professionals and also to stress the importance of the job market development and social environment that can accept them.

• The Journal of the Korea Contents Association
• /
• v.21 no.9
• /
• pp.88-104
• /
• 2021

The visual expression of deconstructive graphic design influenced by postmodernism differs from the traditional ways of graphic expression that consist of precise images and text and is challenging and highly experimental. The characteristics of the formative nature of such deconstructive graphic design emphasized the importance of the reader as the principal agent of aesthetic experience in the appreciation of works. For this study, a new ideological framework was developed regarding the ambiguity arising due to visual experimentation in deconstructive graphic design, assuming the central theory to be the Reception Theory (Aesthetics of Reception) centering around the recipient who is the reader. The characteristics of Iser's Reception Theory are substituted as a theoretical category and an interpretation of the works of ambiguity in deconstructive graphic design is carried out. Although Aesthetics of Reception is a literary theory about the interaction between the artist and the reader, as a method for interpreting deconstructive graphic design influenced by postmodernism, it laid a theoretical foundation and enriched the interpretation of works. Moreover, the four characteristics of Iser's Reception Theory were used to create a framework that suggested a new direction for the approach based on the reader's interaction in the process of interpreting works of modern graphic design.

• Journal of Korean Theatre Studies Association
• /
• no.48
• /
• pp.385-419
• /
• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.