• Journal of Conservation Science
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• v.36 no.2
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• pp.82-92
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• 2020

Modern artworks are constructed using a variety of materials and techniques. Sculptures, which predominantly consist of metals, usually have different shapes and consist of different material mixtures. The structural and material properties of these sculptures are often controlled by conservation treatment methods. However, the application of existing treatment methods is challenging at times, indicating that more diverse treatment materials and techniques are necessary. Therefore, in this study, a treatment method that employs volatile corrosion inhibitor(VCI) powder, rather than an anti-corrosion solution, for the conservation and management of metal artworks was used. VCI powder and VCI films containing VCI powder were used, and the results obtained confirmed that both of them showed anti-corrosion effect. Only a slight change in the chromaticity of metal samples was observed, and compared to the untreated samples, the application of the VCI powder resulted in a decrease in the rate of corrosion by half. Moreover, VCI film tests revealed that comparing to the untreated or polyethylene film-treated samples, VCI film treatment resulted in a decrease in the occurrence of corrosion compounds. The contact angle, surface energy, and surface electrical resistance were measured, and the evaluation of these surface properties established the anti-corrosion effect of VCI. Additionally, direct application of VCI and VCI films on actual sculptures further confirmed the anti-corrosion effect of VCI.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.153-164
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• 2017

This research concurrently conducts literature review and quantitative research methodology in order to compare aesthetic experience of and . From the perspective of viewing attitudes, two types of perception equally coexist in both exhibitions: convergent perception is predominant over distracted perception in IL while distracted perception is higher than convergent perception in MIE. However, the influence of convergent perception on the degree of satisfaction and immersion is proved only in MIE. In terms of roles of viewer, there is a tendency to weigh on passive role in both exhibitions. In particular, it is worth noting that the role is relatively high in MIE. The role of viewer do not correlate with on the degree of satisfaction and immersion, as well as modes of perception. The elements of aesthetic experience are highly rated and the use of previous knowledge acts as a positive influence on the role of viewers in IL. Through this study, we witness the fact that visitors who are familiar with traditional artworks depend upon both modes of perception as well as passive role of viewer in the digital exhibition. In conclusion, remediation through digital technology has blurred the boundary of the dichotomy of a viewing attitude and a role of viewer depending on exhibit media, consequently MIE bears both natures of traditional artworks and digital media.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.156-157
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• 2005

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.175-191
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• 2012

It is said that the mainstream of the oriental culture is Confucian culture, but not be the unique culture of Korea. The religious object in Taoist ideology of immortality reflecting the awareness of cultural community and Korean identity was three spirits. Three spirits are one spirit in terms of main subject. Three spirits were named because they rule the heaven, the earth and human beings each in the reality. The custom performing the religious service to the heaven and the earth is not based on the Taoist ideology of immortality but only the superstition which we can't understand. However, we can clearly understand the reason why the ideology has been transmitted up to now in our awareness and culture when we understand the basis of that ideology. The theory on the origin based on the birthplace of Taoist ideology would be based on the shamanism of Eastern barbarianism and their cultural features. Accordingly, this paper aimed to identify the formative features of phoenix pattern and background of the formation of phoenix pattern based on the unique culture of Korea. Furthermore, the traditional craft works of Korea with the phoenix pattern which secured its position as the representative pattern of Korea will be investigated.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.3 s.9
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• pp.18-24
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• 2006

Hair is the part of body which expresses man into more manlike. When we create some artworks, we need the most suitable material for the artworks. Similarity, the healthy scalp hair condition and treatment are required to keep our hair clean and healthy. And the improper condition of scalp hair prohibits our hair from normal growing, proceeds the alopecia(loss of hair) and double our physical and mental stresses. The necessity of health treatment of scalp hair which was damaged by frequent permanent hair wave and hair coloring is on the rise. This study will present how to control and treat the scalp hair and will check how we feel about the necessity of scalp hair treatment. This study finally shows that people think their scalp hair conditions are not normal and chemically treated hair in spite of their natural hair. However, most people think that the scalp hair treatment is very useful to their hair and this result enables us to predict the future market of the scalp hair treatment business will be growing day by day. We need to study further not only scalp hair treatment but also prevention stage in order to keep the healthy hair and will check how we feel about the necessity of scalp hair treatment.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.97-103
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• 2015

This paper empirically investigated the factors that may affect art forgery, using 5,130 authentication request data drawn from Korean Art Appraisal Board (KAAB) during 2003 and 2012. Living status of artists and trade frequency of artworks of the artists were considered as explanatory variables that may affect authentication requests and forgery ratio. We found that artists' death has significantly positive impacts on both authentication requests and forgery ratio, while trade frequency of artworks of the artists has the impact only on authentication requests. These results imply that art forgery may have multidimensional characteristics.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.13-23
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• 2004

To date, Italian fashion rans the top even its rise is far behind Paris and New York. The purpose of this study is to analyze and compare the aesthetic characteristics of the italian fashion through two representative designers who contributed to italian fashion. Italy had unique industrial system and craftsmanship from the history and sense of the beauty and the uniqueness from the culture. After the World War II, Italy started to produce elegant sportswears influenced by the progressive manufacturing techniques and practical culture of America. Italian fashion of 'easy elegance' is spearheaded by Vesace and Armani. The aesthetic characteristics of Italian fashion which are shown in the artworks of them are as follows. First, the characteristics of Versace dated from southern sensibility are sensualism, expressionism, historicism. 1) Sensualism: tight silhouette, overexposure, glamorous form, brilliant color, fabric showing femininity, gaudy accessaries 2) Expressionism: brilliant print and color, trimmings and accessaries 3) Historicism: form and motifs that are shown in the historical costume Second, the characteristics of Armani succeeded from northern tailoring are purism, functionalism, and multi-culturism. 1) Purism: clean lines, architectural and geometric forms, natural body line, neutral tones, luxurious fabric 2) Functionalism: functional form, neutral tone, natural fabrics 3) Multi-culturism: design and motif inferred from ethnic costume As such. competition between two different groups made it possible that Italian fashion occupies a special place in the international fashion system.

• KIEAE Journal
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• v.14 no.5
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• pp.13-20
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• 2014

Museums have developed various needs of the visitors and exhibits over the past two centuries. Currently, they have multiple functions of display, conservation, research and public education about artworks and cultural events. Therefore, exhibits should be displayed in various ways so that visitors can feel inter-relations with exhibits. The exhibition areas of museums should be provided with the stable lighting environment for visitors and artworks. For the study, I selected four museums, which were the Seoul Museum, the Mimesis Art Museum, the Seoul Museum of Art in Nowon and the National Museum of Modern and Contemporary Art in Gwacheon, and I measured illumination levels of the selected Museums, and then, I surveyed the visitors' responses on the lighting conditions of them. According to the results, the measurements of the illumination levels in the four museums showed that the illumination levels of them were effectively controlled to display the art works. However, the illuminance levels at some areas that drew the natural light as lighting source were much higher than recommended illumination values for museum. In the mean time, the answers of questionnaires showed that the natural light were so effective to light the museums although the natural light provided some areas with high illumination levels.

• Journal of Information Science Theory and Practice
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• v.8 no.1
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• pp.20-32
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• 2020

Informational urbanism is a new research area in information science. In this study, art history joins informational urbanism: Are digital artworks in public urban spaces recognized as essential assets of a smart city? We employed case study research, working with the example of the huge digital media façade of the Arthouse Graz as an artwork in a public space. In a mixed-methods approach, we asked passers-by and interviewed experts on Graz as a smart city and on the Arthouse's role concerning the image of Graz as a smart city. The research found strong hints that indeed digital artworks with large screens or media façades at public spaces are parts of a city's weak location factors as well as of the city's urban structure and may symbolize the city's smartness. A practical implication of this finding is that artists, computer and information scientists, city planners, and architects should include interactive contemporary digital art into city spaces in order to demonstrate the city's way towards knowledge society.

• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.