• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.178-185
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• 2023

The Chinese calligraphy art, which still adheres to tradition, has fallen into the formalism deeper and deeper. The majority of studies on calligraphy still focus on the formal beauty and neglect the core spirit hidden behind the calligraphy art. The calligraphy art is an art defined by words. This definition is not only reflected in the form of the characters but also, and more importantly, in the meaning of the characters. It is not a form of writing, but a writing of lives, wills and feelings, a writing of the experience of daily life, and an improvised poetic writing. With the advent of the age of artificial intelligence, the Chinese traditional calligraphy art, which still adheres to the "supremacy of the brush and ink", has shown a sense of dystopia, and its end is inevitable. Only by truly understanding the core of the calligraphy art, by integrating it with contemporary daily life, and by focusing on the communication of ideas in calligraphy, will it be possible to obtain a new life.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.119-130
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• 2013

This paper researches the algorithm, whose materiality and expressiveness can be obtained through live coding. Live coding is an improvised genre of music that generates sounds while writing code in real time and projecting it onto a screen. Previous studies of live coding have focused on the development environment to support live coding performance effectively. However, this study examines the aesthetic attitude immanent in the realization of the algorithm through analyzing mostly used languages such as ChucK, Impromtu, and the visualization of live code and cases of "aa-cell" and "slub" performance. The aesthetic attitudes of live coding performance can be divided into algebraic and geometric attitudes. Algebraic attitudes underline the temporal development of concepts; geometric attitudes highlight the materialization of the spatial structure of concepts through image schemas. Such a difference echoes the tension between conception and materiality, which appears in both conceptual and concrete poetry. The linguistic question of whether conception or materiality is more greatly emphasized defines the expressiveness of the algorithm.