• The Journal of the Korea Contents Association
• /
• v.20 no.10
• /
• pp.89-99
• /
• 2020

In this study, we tried to produce moving-image works through sentiment analysis of music. First, Google natural language API was used for the sentiment analysis of lyrics, then the result was applied to the image visualization rules. In prior engineering researches, text-based sentiment analysis has been conducted to understand users' emotions and attitudes by analyzing users' comments and reviews in social media. In this study, the data was used as a material for the creation of artworks so that it could be used for aesthetic expressions. From the machine's point of view, emotions are substituted with numbers, so there is a limit to normalization and standardization. Therefore, we tried to overcome these limitations by linking the results of sentiment analysis of lyrics data with the rules of formative elements in visual arts. This study aims to transform existing traditional art works such as literature, music, painting, and dance to a new form of arts based on the viewpoint of the machine, while reflecting the current era in which artificial intelligence even attempts to create artworks that are advanced mental products of human beings. In addition, it is expected that it will be expanded to an educational platform that facilitates creative activities, psychological analysis, and communication for people with developmental disabilities who have difficulty expressing emotions.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.5 no.1
• /
• pp.33-45
• /
• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.

• Journal of the Korean Society of Costume
• /
• v.13
• /
• pp.51-72
• /
• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.

• Archives of design research
• /
• v.14 no.2
• /
• pp.67-76
• /
• 2001

Children's Picture Book is the literature with which children face for the first time as a form of close harmony between text and picture. The picture book shows what is happening and also what may happen mn the children's surroundings and takes great Influence on their creativity, thinking ability, emotion, and Intellectual ability by delivering affluent story through the pictures. The color expressed in the children's picture book is as much important as other formative elements such as shape and texture, and the expression of color on the basis of color emotion is much more Important In that It appeals to the children's feeling. The color which is expressed through the illustration of children's picture book conveys distinctly the motion and feeling of characters who are expressed un the picture book as well as distinction of theme and background and expresses persuasively the whole process of plot and atmosphere so that it might convey various emotions such as delight, sorrow, pleasure, wonder, and fear to children. This thesis alms at analyzing various effects of color contrast, process of color, hue variation, and use of color according to the atmosphere of each cut and the process of plot by selecting the children's picture books which were published abroad and home on the basis of color concept, emotion, and image association which children feel In order to Investigate and analyze the symbolism of color and emotional effect expressed through the illustration of children's picture book, and presenting a direction of color use to produce high-level children's picture book with illustrators individuality and artistry.

• Cartoon and Animation Studies
• /
• s.32
• /
• pp.1-21
• /
• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.651-676
• /
• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.112-131
• /
• 2021

The Gwanghwamun Gate of the Gyeongbokgung Palace was established in 1866 when Heungseon Daewongun rebuilt the Gyeongbokgung Palace. In Gwanghwamun, a large platform, woldae was established to reveal its hierarchy. The Gwanghwamun Woldae was equipped with stone railings on the left and right sides, fishing routes in the center, and stairs and slopes to the south. The Yongdu Stone was installed on the south side of the slope, which connected to the woldae, to express the path of the king in a formative manner. The Woldae King Road in Gwanghwamun was expanded in 1915 as the Joseon Promotion Conference was held at the Gyeongbokgung Palace and the woldae was destroyed around 1925. Since then, the figure has not been found since the time before the Gwanghwamun Gate. In the Donggureung royal tombs, there are many stones that are not placed in the royal tombs, including voussoir arch stones, Munsojeon Gugi-bi, as well as Nangan-Seokju, Dongja-seok, and Juk-seok, which are elements of the stone railings. These stone railings and Yongdu-seok are seen as stone objects of the Gwanghwamun Woldae, which can be found through the analysis of the style of the times and comparison with modern photographs.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.3
• /
• pp.282-305
• /
• 2010

Many earrings were excavated from Bujang-ri site in Seosan with various prestige goods such as the golden crowns, shoes and decorated swords. This proved that Bujang-ri site in Seosan fell within Hanseong Backjae area of influence in the 4~5th centuries. The earpieces of excavated prestige goods had been considred subordinate elements compared with the golden crowns, shoes and decorated swords. Twenty one earpieces were excavated from Bujang-ri site and formative features and material characteristics of them were analyzed by microscope and XRF. The material and manufacturing technique of earpieces were compared with excavated aspects of prestige goods. As a results, the earpieces that made of a small amount gold and by simple technique were the most whereas the earpieces that required advanced skills such as welding, workmanship and high purity of gold were smaller. Also the earpieces that required advanced skills were excavated from the tombs where the prestige goods such as the golden crowns, shoes and decorated swords appeared. Therefore, considering Hanseong Backjae used the gold wares as means in showing power for local influence men, the earpiece from Bujang-ri site in Seosan would be the standard on superiority of tomb's owner as gold purity.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.4
• /
• pp.39-48
• /
• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• (The)Study of the Eastern Classic
• /
• no.50
• /
• pp.295-318
• /
• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.