• The Journal of Art Theory & Practice
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• no.1
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Journal of Digital Convergence
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• v.15 no.5
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• pp.373-380
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• 2017

Recently, virtual reality contents are being experimented and introduced in various fields such as game, education, medical, exhibition, movie, SNS. However, research on virtual reality is mainly focused on industrial and technological perspectives, so contents-centric or contents-oriented research is on virtual reality is very rare. In order to prepare for the future of virtual reality properly, content-oriented research is very much needed. The purpose of this study is to investigate the types, characteristics, and possibilities of virtual reality contents applied to theme parks. For this purpose, we tried to classify the contents type of virtual reality based theme park. The criteria of type classification are divided into 'fixed type', 'continuous moving type', and 'segmented moving type' according to the player's position movement possibility and movement type, here we combine the senses such as tactile, taste, smell, balance etc.

• Journal of The Korean Association For Science Education
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• v.24 no.1
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• pp.109-120
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• 2004

The purpose of this study was to examine a) each of the selected science museums for its role in educating on ethical issues in science and technology, b) what are the most frequently dealt ethical themes in science and technology; c) how were those themes presented (via exhibition, play, panel, movies, etc); and d) identify common characteristics in the selected science museums' presentations of ethical issues. The results indicated that selected museums present ethical issues related to technology development, mainly on biotechnology and environmental issues. The type of presentations dealing with ethical issues most frequently were exhibitions, panels and simulations, followed by demonstrations and lectures. All of the selected museums had common characteristics for actively taking an educational role in ethical issues in science. The study suggests that efforts to communicate the ethical issues in various areas should be reinforced to educate students and the public, and that it may be the museum's role to expose ethical aspects of technology related to human rights, dignity, health and development issues from the early stage of its development.

• Journal of The Korean Association For Science Education
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• v.27 no.2
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• pp.134-143
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• 2007

This study explores visitor learning in a natural history museum from the perspectives of situated learning. The purpose of this study is to understand how the visitors construct knowledge from museum experiences through dyadic discourses. The participants were two university students. They moved naturally through the exhibition with no predetermined path in a natural history museum in Korea. Data were collected in the form of audio-recorded dyadic discourses at and between exhibits and were transcribed. The transcription was coded using the conversation coding scheme, and categorized into specific learning types. The findings included (1) the characteristics of learning talks and (2) learning types created by dyadic discourses at and between exhibitions within learning contexts as museum learning experiences. Implications and future research related to visitor learning in informal learning settings were discussed based on the findings.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.178-187
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• 2008

This study aims to analyze general features and forms of spatial structure of major space in museums and for the scope of this study, set up major space and the surrounding areas structured around major space and for the target of analysis, selected 10 museums of overseas examples from 19th century to 2006. And this study on focus, on the circulation structure and visual structure will be analyzed in qualitative method by focusing on the floor plan and section structures; deepening process of analysis, visual structure will turn into numerical value to analyze the spatial structure of the major space. The results of this study are as follow. First, vertical elements should be critically considered in a circulation plan for functional performance of dimensional circulation distribution in a major space. Second, a plan by location of vertical and horizontal moving elements related to a major space affects a circulation relation more than a connection type between a major space and an exhibition area. Third, it could be categorized into 4 types by considering the features of spatial structure followed by connecting relationship between areas. Fourth, comparable figures were drawn out among large space and surrounding areas but it couldn't draw out types.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.87-103
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• 2020

This study investigates critical fashion and discusses its critical messages, as it challenges the existing system of the fashion industry. This study reviews the literature on critical art and critical design and analyzes exhibition catalogs, magazines, and websites related to critical fashion practices. Thereupon, this study assumes the two distinctive messages of critical fashion design: materiality and experience, and the redefinition of the ideal body. First, materiality and experience pursues a change in perceptions of clothing materials by way of deconstructing clothes and exposing the process of production. This type of critical fashion breaks away from the traditional sartorial conventions and articulates new structures and experiences through dematerialization. Second, the redefinition of the ideal human body attempts to subvert the stereotypes of ideal beauty and introduce a variety of beauty in the human body. This type of critical design reconstructs the human body through transformation, expansion, and deconstruction and is often liberated from the dichotomy of gender norms.

• Journal of Fashion Business
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• v.24 no.1
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• pp.75-87
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• 2020

The purpose of this study is to find trends in new media fashion content by analyzing the fashion content of the official Instagram accounts of domestic fashion magazines that are being transformed by digital media. The framework for these analysis of fashion content type and methods of production is based on one used in an earlier research project. Empirical analysis is conducted on Vogue Korea's official Instagram accounts, using the highest number of major views as the secondary measure of interest. After screening for fashion content in posts on the Vogue Korea account for four months, 291 short video postings were extracted to analyze the number of views the postings received. The results were categorized as 'star', 'show/exhibition', 'product', 'shop', 'fashion film', 'designer', or 'event', included in the data are the number of postings by type and the number of views by post. Based on the characteristics of the creator and the editing, the posts were classified into 'professional production highlight', 'professional production private', 'UCC' or 'GIF' videos, the number of views per post were also collected. The research results show different levels of interest depending on the type of fashion content, and also on the way the videos were produced. The study also investigated how the combination of these two factors affects interest. When producing a new media fashion content, combining a 'star' type post with 'professional production private' video content was most popular. The selection of production method is therefore important even given the same type of content.

• Journal of the Korea Institute of Building Construction
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• v.6 no.1 s.19
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• pp.87-91
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• 2006

Since water leakage and cracks are not the source of serious problems such as long-term lowering of performance and durability of a stricture, including damages to operating facilities of a structure, damages to internal finishing materials, exhibition, and goods, and pollution of residential environment, they might have led to development of positive coping skills; however, an instant loss of lives or property due to earthquake, explosion, typhoon, or a fire was indeed neglected. In these days, repair materials for leakage cannot help but being taken in temporary way without any noticeable countermeasure. This kind of repair is socially criticized many times that is defective construction even if this costs a lot. It was not arrange the standard for construction methods of sealer of injection type for leakage maintenance, even it has been used various type of construction methods for leakage part. In conclusion, we suggest that the construction methods of sealer of injection type for leakage maintenance for leakage to establish the leakage repairing technology as increase of structure demand. Therefore, it would be possible to provide a stage-by-stage solution by developing systematic research activities among the industry, schools, and research institutes to spread maintenance management techniques globally through technical solution to water leakage and cracks, acquisition of structural safety with prolonged durability for life cycle, reduction of water leakage repair expense s, and so on.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.654-667
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• 2021

This study examined the perceived fit between the characteristics of immersive technology and the type of media art affects commitment, satisfaction, and revisit intention. The results showed that the quality of projection mapping and the reputation of original art had a positive effect on the perceived fit whereas the accessibility of original art had a negative effect on the perceived fit. In addition, the reputation of original art and the perception of fit increased the commitment of the media art exhibition, which positively affected the satisfaction and revisit intention. This study provides theoretical and practical implications regarding the effect of immersive technology and media art type of digital media art.