• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1156-1159
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• 2009

Since the middle of the 1960's, revitalization of the media art has showed a new paradigm shift as a alternative to existing art genre. According to advances in technology the form of art becomes various. Nowdays, art work which is mixed with media and other genre is popular because of hybrid culture. The image medium has flexibilty to incorporate with other genre because of medium character. The media installation that applied the image medium means to mixed work of sculpture and media. The sculpture and media has been broadened the field through the media installation. this study discuss art works projected image on sculpture among various media installation works. The materiality of the sculpture and the vision of the image mix up each other. It is associated with M. Merleau-Ponty's sens theory.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.2
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• pp.78-96
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• 2003

Nowadays, mass media innovates and has the great power of revolution of our lives. Marshall MacLuhan says new media is the new method of language and also, it is connecting to the real world possibly. The letters make media world a big different. At the end of voiceless age, the caption not only delivers means of the contents but also provides for the composition of the screen itself. In these kinds of composition elements contain explanations such as aesthetic, entertainment, and revival aspects. The caption as translation that used to use was as changing as new way of exploring method. To deliver means of contents, the letters of inside screen has extremely big changes and meaning as well. The design of lettering is the new aesthetic method of media world. Also, the elements of lettering is approaching as the new way of lives. Therefore, this study is to provide the aspects of the lettering to the mass media respectively.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.335-341
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• 2020

As life, once immersed in labor, changes with values and lifestyles, individuals consume or participate in culture and arts for learning, meeting of intellectual needs, pleasure, and exchange. As culture and art spaces have increased in recent times, these spaces have been transformed into places to create, view and exchange culture and art, and to consume cultural goods. Culture and art spaces have created and developed new genres and technologies that give viewers the opportunity to communicate and participate, allowing them to understand and accumulate works of media. A media façade thus gives a preference to places for visitors by giving an impression over a short period of time in culture and art spaces that are not areas for exhibitions and performances, and providing an opportunity to more easily approach and understand works and culture and art spaces. A media façade is a type of medium that imparts aesthetics and information by installing LED lighting on the exterior wall of a building for the realization of media functions. In order to analyze the effect of the media façade on preferences for culture and art spaces, a research model was established with media façade characteristics as independent variables and preferences for culture and art spaces as dependent variables. As a result, media façade design and media features influenced satisfaction, while the media characteristics of the media façade influenced recommendation and revisiting, suggesting that many changes will take place in culture and art spaces.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Cartoon and Animation Studies
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• s.9
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• pp.235-249
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• 2005

Manual processing to make illusion-image of Digital Animation consists of handicraft technology indeed, such as an animation process, image addition and image revision etc.. This thesis asserts that is acquiring new art concept, resuscitating the craftsmanship of art in this digital manufacturing process. To concrete this, this paper consists of the following steps. First, reproduction and mixture in a Film. In art history which have emphasized 'Aura' of an, Reproduction by machine became that can not avoid. Various pictorial information and added images stored by digital become having an opportunity that can do easily a new film-work with reproduction and mixture It is the second rank, extension of an area of Digital Animation. Now, Digital Animation is recognized as a new creative art through illusion of meta-realism. Consequently, the process of Digital Animation is acquiringing the possibility as a new art of Digital Animation, showing the characteristics of a new media art that reconstructs imagination which past media arts could not achieve.

• 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.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.553-563
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• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.155-160
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• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.

• Korean Institute of Interior Design Journal
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• v.26 no.2
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• pp.13-21
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• 2017

The revolution of new media has overthrown the existing social structure and brought about the changes in the concepts of the space and subject. These changes are identical to the existential issue of the space and subject and to fundamental issue of spatial design. This study will interpret the new media in view of ontology and analyze the characteristics by applying it to spatial design. In this study, the characteristics of new media of ontological viewpoint were divided into six categories containing the process space, the space of exterior meaning, the space of the affairs, interactive subject, playful subject and extension of sense, which were the basis for this analysis. The results showed that the expression characteristics of spatial concept of ontology and subject concepts revealed in the areas of architectural surface, the space of art and installation, and architectural design process.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.77-85
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• 2001

The change of society causes the change of art necessarily. The experiments of plastic art which as been done by avant-garde movements at early 20th century have pursued ″Object drama″ consistently as trials of more or less abstract drama. As these plastic arts have used genre or media like circuses, sports, variate, films, screen play, newspapers and a quick method which had not been considered suitable for conventional aesthetic plastic arts, these arts looked provocative and, these provocative plastic arts have ignored universality shown in conventional arts and have caused extreme ″sensation″ accordingly. As a result, abstract art based on style which is against aestheticism and naturalism has been generalized. This style does not deny customary laws of art wholly but it requires new concept. Having ignored traditional styles, a new compositive and responsive way of composition which does not deviate from tradition has been pursued. A new and general understanding of arts which do not deny all conventionally-effective standards extremely has been developed. In this regard, this study analyzes characteristics of Bauhaus Theater which has tried to apply new technology engineering to plastic art as an integrated concept of art and technology amongst the directions of development of provocation, innovation and revolution in case of the plastic art of stage painting, and analyzes how this influences on modern painting in terms of avant-garde arts reviewing the meaning of this theory.