• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.2
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• pp.481-491
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• 2019

The wall paintings of the Afrasiab Palace in Samarkand, Uzbekistan, located at the center of the Silk Road where the culture of the East and the West crossed from ancient times to the Middle Ages, have been unearthed in 1960s and attracted attention from academia. In particular, two characters wearing a Korean ancient hat (Jougwan), who were considered to be ancient Korean, were found in the western wall. The wall depicted the Coronation of King Barfuman of Sogdiana Kingdom in 7th century. It is being used as an important feed for studying the international situation and cultural characteristics at that time. This mural, which is now in the Historical Museum of Afrasiab, contain four different paintings at each side, and has its own cultural characteristics and elements. Nevertheless, there has been no development of storytelling and cultural contents using it. The purpose of this study is to find out how to develop and utilize cultural contents and characters based on the paintings of west wall of Afrasiab palace. To this end, we visited the museum and investigated the mural as well as surveyed many academic materials.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.114-125
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• 2016

Lacquer is one of the most widely used natural resin in East Asia since Neolithic Age. As a major ingredient of lacquerware, lacquer is waterproof, insect-proof and rot-proof to be durable and anti-abrasion, generally utilized for mainly painting purpose. According to lacquerware excavated from several sites of Japan and China, lacquerware seems to appear in Neolithic Age. On the other hand in case of excavation research in Korea, lacquerwares are found after the Bronze Age. The initial purpose of lacquer is estimated to be adhesive, regarding the literatures mentioning bitumen(Yeoksceong ), animal glue(Kyeo) and egg alumen(Nanbaek). Especially piece of jar coffin unearthed in Pyeongtaek Daechu-ri site had trace of restoration by lacquer and hemp as an evidence of lacquer for adhesion in Pre-Three Kingdoms period. Since then a trend to restore the broken ceramics with lacquer and decorate with golden foil lasted especially in Joseon Dynasty. In the field of gold plated lacquer method, mother-of-pearl inlaying technique for lacquerware and restoration of buildings, lacquer is still used as adhesive. Due to matter of reversibility lacquer is being avoided for conservation and restoration of cultural heritage. Lacquer as a traditional material for adhesive since ancient times, however, has advantage in adhesion strength and durability. Because synthetic resin adhesive has problem of emission of volatile organic compounds and aging over time, lacquer receives attention recently. On the contrary, by combination adhesive from mixing lacquer and animal glue, already proved the possibility of applicability and chemical modification. A research to utilize lacquer as modern paint or functional material is also conducted continuously also in China and Japan. To put traditional material into practical use and modernize, chemical research from the molecular level of the lacquer is necessary in the near future.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.169-184
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• 2021

Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.

• International Journal of Computer Science & Network Security
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• v.22 no.5
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• pp.39-48
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• 2022

The main purpose of the work is to analyze modern innovative educational practices in the field of culture and art and their effectiveness in the context of the spread of digitalization trends. The study used general scientific theoretical methods of analysis, synthesis, analogy, comparative, induction, deduction, reductionism, and a number of others, allowing you to fully understand the pattern of modern modernization processes in a long historical development and demonstrate how the rejection of the negativity of progress allows talented artists to realize their own potential. The study established the advantages and disadvantages of involving innovative technologies in the educational process on the example of European experience and outlined possible ways of implementing digitalization processes in Ukrainian institutions of higher education, formulated the main difficulties encountered by teachers and students in the use of technological innovation in the pandemic. The rapid development of digital technologies has had a great impact on the sphere of culture and art, both visual, scenic, and musical in all processes: creation, reproduction, perception, learning, etc. In the field of art education, there is a synthesis of creative practices with digital technologies. In terms of music education, these processes at the present stage are provided with digital tools of specially developed software (music programs for composition and typing of musical text, recording, and correction of sound, for quality listening to the whole work or its fragments) for training programs used in institutional education and non-institutional learning as a means of independent mastering of the theory and practice of music-making, as well as other programs and technical tools without which contemporary art cannot be imagined. In modern stage education, the involvement of video technologies, means of remote communication, allowing realtime adjustment of the educational process, is actualized. In the sphere of fine arts, there is a transformation of communicative forms of interaction between the teacher and students, which in the conditions of the pandemic are of two-way communication with the help of information and communication technologies. At this stage, there is an intensification of transformation processes in the educational industry in the areas of culture and art.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.67-72
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• 2019

Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.

• Korean small business review
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• v.43 no.2
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• pp.59-86
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• 2021

The platform concept has been used for business operations in various forms: product platforms, transaction platforms and industry platforms. All these platforms have common characteristics of having 'core' that is reused frequently and 'peripherals' that are less reusable and changed often. Companies use platforms to enable efficient development and creation of product family, transactions and innovation. These platforms provide new opportunities for many small and medium-sized companies (SMEs) by bringing changes to traditional industrial structures focused on the products rather than platforms. The service robotics industry in South Korea is mainly composed of technology-intensive SMEs due to its small market size. Although these SMEs succeed in developing technologies, they have difficulties creating and expanding markets to sell products. Thus, this study addresses the characteristics and problems of the South Korean service robotics industry and analyses how ROBOPRINT, one of the SMEs in the service robotics industry, successfully creates and continuously expands the service robot market by adopting platform concept. The results indicate that ROBOPRINT has been applying two types of platforms: product and transaction platforms. First, ROBOPRINT created art robots that were apartment mural service robots. Rather than selling art robots, the company developed various robots such as painting robots, building exterior wall-cleaning robots by reusing the core technology of the robots. The company also developed various robots according to the buyers request. In addition, the company used the robots to directly provide apartment mural services for customers. This mural service has been extended into various areas, not only in apartments but also in soundproof walls, underground passages, and retaining walls. Besides, ROBOPRINT added new services continuously by developing technologies such as virtual reality. Second, ROBOPRINT mediated mural service buyers and mural designers. This platform reduced buyers' workload, which necessitates requesting mural services to ROBOPRINT and searching for mural designers. For designers, this opened up new opportunities to participate in the mural business. The platform attracted both mural buyers and designers who were scattered before. Finally, ROBOPRINT seeks to expand the platform's scope to outside company. To share internally reused ROBOPRINT's technology with other companies, the company participated in Daegu city's 'New Technology Platform Industry'. Furthermore, ROBOPRINT is trying to share the service platform by leasing robots to other companies. This allows external agents to develop technologies and provide services by reusing resources from ROBOPRINT. This study contributes to existing theories by showing that SMEs continuously create and expand markets by building various platforms. Moreover, it provides useful implications for practitioners by describing the firm's specific platform-building strategy.

• Economic and Environmental Geology
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• v.56 no.6
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• pp.899-909
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• 2023

In this study, the material scientific characteristics of Hobun pigments used as white inorganic pigment for traditional cultural heritage were identified according to the type of shell and calcination and evaluated the stability of the preservation environment. For the purpose of this, we collected 2 different types of Hobun pigments made by oyster and clam shell and its calcined products(at 1,150℃). Hobun pigments before calcined identified calcium carbonate such as calcite, aragonite but calcination derived changing main composition to portlandite and calcite. Results of FE-SEM showed characteristics microstructure for each shell but pigments after calcined observed porous structure. Porous granule highly caused oil adsorption according to increase specific surface area of pigments. In addition, the whiteness improved after calcined pigments compared to non-calcined pigments, and the color improvement rate of Hobun pigment (CS) which made of clam shell was higher. As a result of the accelerated weathering test, the Hobun pigment-colored specimen had a color difference value of less than 2 after the test, which was difficult to recognize with the naked eye. In particular, the color stability has improved as the color difference value of the Hobun pigment is smaller after calcined compared to before non-calcined pigment. However, it was confirmed that the stability of the painting layer was lower in the specimen after calcined pigment. For antifungal activity test, Aspergillus niger, Tyromyces palustris and Trametes versicolor were used as test fungi, and all pigments were found to have preventive and protective effects against fungi. Especially, the antifungal effect of the calcined pigment was excellent, which is due to the stronger basicity of the pigment.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Journal of Korean Society of Environmental Engineers
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• v.31 no.7
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• pp.491-498
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• 2009

We studied to develop high-efficiency removal system of odor and VOCs(Volatile Organic Compounds) from environmental infrastructure facilities and oil refineries, painting facilities and so on. It can replace RTO and RCO. We tried an removal experiment for VOCs (toluene, xylene, benzene, MEK(methyl ethyl ketone), ethanol, formalin etc. and odor compounds (hydrogen sulfide, etc.). In process, as pre-treatment we used the scrubber with vortex flow (Multi-scrone) to remove the hydrophilic VOCs and as post-treatment, used fibrous bio-filter to remove the hydrophobic VOCs. This hybrid system remove with high efficiency both the hydrophilic VOCs and hydrophobic VOCs. And we tried to make this system to be compact. In experiment using Multi-scrone, contact time is 2~3 seconds and absorption scrubbing water is diaphragm-type electrolysis water. hydrophilic VOCs like ethanol and relatively hydrophilic odor compounds like hydrogen sulfide is excellent, these substances has been removed almost completely, respectively 95~99%, 93~97%. And for MEK, formalin also Showed a high removal efficiency, respectively 78~90%, 72~85%. But in experiment using Multi-scrone, the hydrophobic VOCs like BTX showed a low removal efficiency, respectively 16~22%, 12~18%, 8~16%. In hydrophobic VOCs, toluene removal experiment using fibrous bio-filter, early efficiency was low but after 10days, adaptation period showed high efficiency 85~95%. but in the mixed phase, toluene and MEK efficiency reduced 5~10%. this show microorganism treat first MEK easy to remove. The removal efficiency for MEK using the fibrous biofilter was stable, 80~92%. This hybrid system is also high economical efficiency for RTO. This system reduce more than 50% the cost of equipment and maintenance. As a result, we expect this technology is in the limelight as high efficiency treatment of VOCs in mid-low price.