• Title/Summary/Keyword: New Media Theory

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A Study on the Space Design Characteristics of Scenography in Bauhaus (바우하우스 무대 미술의 공간 조형성에 관한 연구)

  • 김일환;김주연;전흥수
    • 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.

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The Effect of Community Artifacts and Media Richness Elements on the Experiences of the Social Network Game Users : 'Anypang' Case (커뮤니티 요소와 매체 풍요도 요소가 소셜 네트워크 게임 이용자의 이용경험에 미치는 영향 : '애니팡'을 중심으로)

  • Lee, Un-Kon;Kim, Kyong Kyu;Lee, Jung Reul
    • The Journal of Society for e-Business Studies
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    • v.18 no.1
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    • pp.191-211
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    • 2013
  • The deployment of social network service(SNS) makes the social network game(SNG) as the new value added service of SNS be popular. But, a few study had identified the reason of this popularity and the elements of SNG. Based on the social presence theory and media richness theory, we had tried to identify three community artifacts (i.e. persistent labeling, self presentation and deep profiling) and two media characteristics(i.e. vividness and interactivity) as the SNG elements in this research. Then we had empirically validated the effect of these elements on the SNGexperience (i.e. social presence, perceived enjoyment) and behavioral intentions (i.e. Continuous usage intention, willingness to pay and loyalty) of the users. We conducted a survey to the actual SNG users. 243 data were collected and analyzed by PLS algorism. The results indicated that the community artifacts mediated by the social presence and media characteristics could significantly affect on the experiences and behavioral intentions. These findings could contribute to identify what element could be the reason of social network game popularity and could also contribute to design more attractive social network game in practice.

Socialist Pop After Cultural Revolution (문화혁명기 이후의 중국의 사회주의 팝아트)

  • Park, Se-Youn
    • The Journal of Art Theory & Practice
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    • no.6
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    • pp.27-50
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    • 2008
  • This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

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New horizon of geographical method (인문지리학 방법론의 새로운 지평)

  • ;Choi, Byung-Doo
    • Journal of the Korean Geographical Society
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    • v.38
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    • pp.15-36
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    • 1988
  • In this paper, I consider the development of methods in contemporary human geography in terms of a dialectical relation of action and structure, and try to draw a new horizon of method toward which geographical research and spatial theory would develop. The positivist geography which was dominent during 1960s has been faced both with serious internal reflections and strong external criticisms in the 1970s. The internal reflections that pointed out its ignorance of spatial behavior of decision-makers and its simplication of complex spatial relations have developed behavioural geography and systems-theoretical approach. Yet this kinds of alternatives have still standed on the positivist, geography, even though they have seemed to be more real and complicate than the previous one, The external criticisms that have argued against the positivist method as phenomenalism and instrumentalism suggest some alternatives: humanistic geography which emphasizes intention and action of human subject and meaning-understanding, and structuralist geography which stresses on social structure as a totality which would produce spatial phenomena, and a theoretical formulation. Human geography today can be characterized by a strain and conflict between these methods, and hence rezuires a synthetic integration between them. Philosophy and social theory in general are in the same in which theories of action and structural analysis have been complementary or conflict with each other. Human geography has fallen into a further problematic with the introduction of a method based on so-called political ecnomy. This method has been suggested not merely as analternative to the positivist geography, but also as a theoretical foundation for critical analysis of space. The political economy of space with has analyzed the capitalist space and tried to theorize its transformation may be seen either as following humanistic(or Hegelian) Marxism, such as represented in Lefebvre's work, or as following structuralist Marxism, such as developed in Castelles's or Harvey's work. The spatial theory following humanistic Marxism has argued for a dialectic relation between 'the spatial' and 'the social', and given more attention to practicing human agents than to explaining social structures. on the contray, that based on structuralist Marxism has argued for social structures producing spatial phenomena, and focused on theorising the totality of structures, Even though these two perspectives tend more recently to be convergent in a way that structuralist-Marxist. geographers relate the domain of economic and political structures with that of action in their studies of urban culture and experience under capitalism, the political ecnomy of space needs an integrated method with which one can overcome difficulties of orthhodox Marxism. Some novel works in philosophy and social theory have been developed since the end of 1970s which have oriented towards an integrated method relating a series of concepts of action and structure, and reconstructing historical materialism. They include Giddens's theory of structuration, foucault's geneological analysis of power-knowledge, and Habermas's theory of communicative action. Ther are, of course, some fundamental differences between these works. Giddens develops a theory which relates explicitly the domain of action and that of structure in terms of what he calls the 'duality of structure', and wants to bring time-space relations into the core of social theory. Foucault writes a history in which strategically intentional but nonsubjective power relations have emerged and operated by virtue of multiple forms of constrainst wihthin specific spaces, while refusing to elaborate any theory which would underlie a political rationalization. Habermas analyzes how the Western rationalization of ecnomic and political systems has colonized the lifeworld in which we communicate each other, and wants to formulate a new normative foundation for critical theory of society which highlights communicatie reason (without any consideration of spatial concepts). On the basis of the above consideration, this paper draws a new norizon of method in human geography and spatial theory, some essential ideas of which can be summarized as follows: (1) the concept of space especially in terms of its relation to sociery. Space is not an ontological entity whch is independent of society and has its own laws of constitution and transformation, but it can be produced and reproduced only by virtue of its relation to society. Yet space is not merlely a material product of society, but also a place and medium in and through which socety can be maintained or transformed.(2) the constitution of space in terms of the relation between action and structure. Spatial actors who are always knowledgeable under conditions of socio-spatial structure produce and reproduce their context of action, that is, structure; and spatial structures as results of human action enable as well as constrain it. Spatial actions can be distinguished between instrumental-strategicaction oriented to success and communicative action oriented to understanding, which (re)produce respectively two different spheres of spatial structure in different ways: the material structure of economic and political systems-space in an unknowledged and unitended way, and the symbolic structure of social and cultural life-space in an acknowledged and intended way. (3) the capitalist space in terms of its rationalization. The ideal development of space would balance the rationalizations of system space and life-space in a way that system space providers material conditions for the maintainance of the life-space, and the life-space for its further development. But the development of capitalist space in reality is paradoxical and hence crisis-ridden. The economic and poltical system-space, propelled with the steering media like money, and power, has outstriped the significance of communicative action, and colonized the life-space. That is, we no longer live in a space mediated communicative action, but one created for and by money and power. But no matter how seriously our everyday life-space has been monetalrized and bureaucratised, here lies nevertheless the practical potential which would rehabilitate the meaning of space, the meaning of our life on the Earth.

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Self-reflexivity in Animation Media -focusing on exposure of production process and intertexuality- (애니메이션의 매체적 자기반영성 -생산과정의 노출과 상호텍스트성을 중심으로-)

  • Suh., Yong
    • Cartoon and Animation Studies
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    • s.34
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    • pp.81-104
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    • 2014
  • Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

Parallelism-aware Request Scheduling for MEMS-based Storages (MEMS 기반 저장장치를 위한 병렬성 기반 스케줄링 기법)

  • Lee, So-Yoon;Bahn, Hyo-Kyung;Noh, Sam-H.
    • Journal of KIISE:Computer Systems and Theory
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    • v.34 no.2
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    • pp.49-56
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    • 2007
  • MEMS-based storage is being developed as a new storage media. Due to its attractive features such as high-bandwidth, low-power consumption, high-density, and low cost, MEMS storage is anticipated to be used for a wide range of applications from storage for small handhold devices to high capacity mass storage servers. However, MEMS storage has vastly different physical characteristics compared to a traditional disk. First, MEMS storage has thousands of heads that can be activated simultaneously. Second, the media of MEMS storage is a square structure which is different from the platter structure of disks. This paper presents a new request scheduling algorithm for MEMS storage that makes use of the aforementioned characteristics. This new algorithm considers the parallelism of MEMS storage as well as the seek time of requests on the two dimensional square structure. We then extend this algorithm to consider the aging factor so that starvation resistance is improved. Simulation studies show that the proposed algorithms improve the performance of MEMS storage by up to 39.2% in terms of the average response time and 62.4% in terms of starvation resistance compared to the widely acknowledged SPTF (Shortest Positioning Time First) algorithm.

Modern(摩登) Female Images in Shanghai by 1930s : Mainly Regarding to Visualized Printed Arts (1930년대 상해의 모던[摩登] 여성 이미지 - 시각화된 복제미술을 중심으로)

  • Moon, Jung-Hee
    • The Journal of Art Theory & Practice
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    • no.4
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    • pp.105-121
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    • 2006
  • The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

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The Characteristics of New Age Consciousness in the Popular Culture - Focus on 'Avatar' (대중문화에 나타난 뉴에이지 사상의 특징 -아바타를 중심으로-)

  • Lee, Jun-Soo
    • Cartoon and Animation Studies
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    • s.41
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    • pp.1-29
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    • 2015
  • This paper aims at studying how to express and be used the characteristics of New age consciousness in the popular culture. New age consciousness is used interchangeably with new age movement. The philosophy of new age is based on humanism, which the infinite potential power of human can change the human himself and the earth forward to be shown the new age of peace, hope and love in an instant. This consciousness is based on the Western secret art and Eastern consciousness against the Christianity and has begun to develop in the alternative religion influenced by Postmodernism and Counterculture movement on 1970's which is against the corruption of American society on 1960's. However, new age consciousness has tried to change to a social movement for the culture, the peace, the happiness of mankind and the healing society rather than a religion idea because of the limitation of the theory itself. Nevertheless, the new age culture contains the characteristics of the religion, and the characteristics has been easily borrowed to the mess media and infiltrated to us. In a broad sense, the religion includes both own religion beliefs and behavior and the social movements and tendencies about the established religion which pursues the holy and the highest value. The religion is valued as a complex culture phenomenon, which the religion presents the right direction and the meaning of life as well as contributes to the maintenance of social order and the social unification. For this reason, the religion and the culture have a deep relationship between mess media and needs to be captured and listen to religious longing lurking deep within the human consciousness in order to give the audience impressed and fun. In the study, the characteristics of New age such as reincarnation, illusion, meditation, monism and pantheism is analyzed for what affects students studying mess media and the popular culture. And then the study is analyzed the characteristics of new age consciousness in the animation through 'Avatar'. This study shed new light on the influence of religion which is ideological identity of popular culture, and I expect to be a little help to have the insight to examine the mess media with a various angles.

Analysis of the different of Interest words between Korea and Vietnam using network theory - Focusing on smart city (네트워크 이론을 이용한 한국과 베트남의 관심어 차이 분석 - 스마트시티를 중심으로)

  • Jeong, Seong Yun;Kim, Nam Gon
    • Smart Media Journal
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    • v.11 no.8
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    • pp.73-83
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    • 2022
  • In order to support new construction engineering companies with weak information power to successfully advance into the overseas construction market, this study tried to analyze what are the keywords of interest in the overseas construction market and how they differ from Korea. For this purpose, we recently collected 2,473 news article titles and major articles targeting smart cities that are of high interest in Korea and Vietnam. Through network configuration and topic modeling, we examined the connection relationship between the word of interest and the word of interest. In addition, the influence of the word of interest in the network was measured using PageRank centrality. Through this analysis, it was found that there is a high interest in smart city-related construction, cities, and digital in both countries, and the difference in terms of interest between Korea and Vietnam was inferred. Finally, the limitations of this study and additional research directions to complement them are presented.

Exploratory Study on Factors Affecting Influencers' YouTube Channel Operation and Revenue Generation Based on the Grounded Theory Approach (근거이론 접근법을 이용한 인플루언서의 유튜브 채널 운영과 수익 창출에 미치는 영향요인에 관한 탐색 연구)

  • Kim, Young Lag;Park, Sang Hyeok;Cho, Jae Hee;Park, Jeong Sun
    • The Journal of Information Systems
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    • v.30 no.4
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    • pp.173-202
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    • 2021
  • Purpose This study explored overall phenomena in context such as YouTube channel operation, strategy, and profit generation through interviews with two research participants who started their own businesses and are recognized as influencer on YouTube and analysis of viewer responses to uploaded contents. With the explosive growth of YouTube content provision and use, previous studies on YouTube are only being conducted individually on YouTube's content, influence, and content providers, so it is need to explore YouTube channel operations and the effect of revenue generation in context from an integrated perspective. Therefore, the purpose of this study is to present an integrated model that provides a specific process by contextually linking the factors and results influencing YouTube channel operation and revenue generation phenomena to individuals and companies who are trying to operate YouTube channels for the first time. Design/methodology/approach This study systematized and structured the overall phenomena in context such as YouTube channel operation, communication strategy, effect on revenue generation, and YouTube channel operation results by selecting interview subjects and collecting data through interviews, and analyzing viewer reactions (likes, comments, etc.). Due to the lack of previous studies exploring integrated phenomena, research analysis used Strauss & Corbin (1998)'s grounded theory approach, which presented inductive research methods to discover new theories by structuring concepts and categories based on detailed observations and information provided by interviewees. Findings The academic implication of this study is that while previous studies are conducted as individual studies on YouTube's content, influence, and content providers in the current situation where YouTube content provision and use are exploding, it integrally explores and presents an integrated model throughout the process. In addition, taking into account the lack of previous studies, it can be found in the aspect of using the grounded theory approach, an inductive theory approach that establishes a new theory. The practical implications can be found in that it presented practical directions to beginners who want to start operating YouTube channels by identifying operational preparations, communication strategies with viewers, and response management strategies.