• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.17 no.1
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• pp.51-73
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• 2023

Social media play a significant role in communicating information across the globe, connecting with loved ones, getting the news, communicating ideas, etc. However, a group of people uses social media to spread fake information, which has a bad impact on society. Therefore, minimizing fake news and its detection are the two primary challenges that need to be addressed. This paper presents a multi-modal deep learning technique to address the above challenges. The proposed modal can use and process visual and textual features. Therefore, it has the ability to detect fake information from visual and textual data. We used EfficientNetB0 and a sentence transformer, respectively, for detecting counterfeit images and for textural learning. Feature embedding is performed at individual channels, whilst fusion is done at the last classification layer. The late fusion is applied intentionally to mitigate the noisy data that are generated by multi-modalities. Extensive experiments are conducted, and performance is evaluated against state-of-the-art methods. Three real-world benchmark datasets, such as MediaEval (Twitter), Weibo, and Fakeddit, are used for experimentation. Result reveals that the proposed modal outperformed the state-of-the-art methods and achieved an accuracy of 86.48%, 82.50%, and 88.80%, respectively, for MediaEval (Twitter), Weibo, and Fakeddit datasets.

• Korea Science and Art Forum
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• v.22
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• pp.393-402
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• 2015

This study investigated Seoul's image as a tourism destination that Chinese tourists perceived, taking advantage of Chinese Social Media "Renren". The study used visual method (V-method) to collect images and analyzed them in terms of convergent disciplinary approach. It searched Chinese word, "首爾", in Renren social network. 526 Seoul's photos were collected from 129 users' mini-homepage. Destination planners and marketers should understand how the Chinese tourists perceive the Seoul's image and recognize the contribution factors to representations of the city. It is recommended that more cultural experience should be offered to Chinese tourists.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.175-181
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• 2024

The paper examines the impact of digital media art on urban creative products, analyzing opportunities and challenges in the digital era. It emphasizes the development of urban cultural and creative products, highlighting their significance and future growth potential. The digital media era provides unprecedented innovation opportunities, utilizing advanced tools for efficient design, production, and marketing. Trends like personalization, customization, AI, and big data offer new expressions and market prospects. Cultural products evolve in design, marketing, and sales channels due to digital media, with tools like social media and e-commerce platforms opening new promotion avenues. Case studies illustrate digital media's role in driving innovation and enhancing user experiences. The paper addresses challenges in market competition, copyright, and technological renewal, while recognizing opportunities from AI and big data. The creative industries must adapt and innovate to remain relevant. Looking ahead, urban creative products will evolve under digitalization, relying on digital means to attract consumers and enhance brand value. Cultural products, beyond economic entities, disseminate urban culture and creative spirit. In the digital era, urban creative products demonstrate potential and necessity, prompting a reevaluation of digital technology's role. Through continuous innovation, this field contributes to cultural and economic levels, impacting urban characteristics and heritage. Urban creative products play an increasingly vital role in the global cultural and creative economy.

• Journal of the Korean Society of Costume
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• v.23
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• pp.111-130
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• 1994

The purpose of this study was to illuminate eroticism represented din modern fashion. Art based on sex is very important like all of the other cultural values. But we feel that erotic art, neglected, suppressed , and persecuted for centuries, has an important contribution to make to the understanding of art, the social history of mankind, and human happiness and progress. It is our deep personal conviction that erotic art serves important social and therapeutic functions. Erotic art expresses the demand for sexual freedom-a freedom vital to individual happiness and mental well-being, And sexual freedom, in turn, cannot exist without a high degree of political and economic freedom as well. In that sense , erotic art came a truly revolutionaly message ; it demands no less than extension of freedom , not only in the sexual are, but in every sphere of social life. What is eroticism \ulcorner Eroticism must be distinguished from a mere animal reproduction . Eroticism is deeply rooted in the cultural tradition of myth, religion , customes and art. It also has a close relationship with psychological activities of our life. Eroticism is a kind of psychological revolution in the development of human civilization. Eroticism is related to different kinds of art, which express internal spirit of human especially Surrealism. Surrealism is above all a movement of the conquest and deepening of the unconscious. The exploitation of Freud's discoveries opended a new, practically unlimited path for artistic studies to Surrealism . Especially all theory of mental psychoanalysis a affected artists greatly in western art, Freud was appraised highly on his achievements by art critics in art history on his achievements by art critics in art history. As far as erotic subject matter was concerned, Surrealism provided a means of presentig it. Pop Art is not actually a movement , born at a specific time and place, nor is it an easy concept to define. The term first appeared in Great Britain during the fifties, when it referred, particularly in the decorative arts, to an inclination to go back and imitate the stereotyped images of the mass media : film, advertising , cartoons, and other popular consumer products. The eroticism expressed in Pop Art calls the modern's attentions to their devastated minds, taking advantage of the commercialized sex. Fashion has developed constantly reflecting the spiritual aspiration and social and cultural phenomona of man , and artistic steam. Eroticism in fashion is the style which expresses the internal meanings of sexuality through the texture, color, pattern , silhouette etc.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.417-422
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• 2024

This study aims to explore the collaborative methods between ceramic art and participatory art, expanding the scope of activities for ceramic artists. The research clarifies that ceramic art, as a medium of participatory art, can play a significant role in expanding artistic expression and enhancing social functions. This contributes to modern individuals' self-awareness and the formation of community culture, promoting social change. To this end, the study applies the participatory art methodologies of Grant Kester and Claire Bishop to analyze the role of ceramic art in participatory art. Specifically, by examining the ceramic works of artists, the study discusses the contributions of ceramic art as a medium of participatory art in researching social issues and promoting social change. Furthermore, the collaboration between ceramic art and participatory art also contributes to expanding the expressive boundaries of ceramic works.

• Journal of Fashion Business
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• v.22 no.4
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.

• International Journal of Computer Science & Network Security
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• v.22 no.9
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• pp.334-342
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• 2022

Nowadays, as we can notice on social media, most users choose to use more than one language in their online postings. Thus, social media analytics needs reviewing as code-switching analytics instead of traditional analytics. This paper aims to present evidence comparable to the accuracy of code-switching analytics techniques in analysing the mood state of social media users. We conducted a systematic literature review (SLR) to study the social media analytics that examined the effectiveness of code-switching analytics techniques. One primary question and three sub-questions have been raised for this purpose. The study investigates the computational models used to detect and measures emotional well-being. The study primarily focuses on online postings text, including the extended text analysis, analysing and predicting using past experiences, and classifying the mood upon analysis. We used thirty-two (32) papers for our evidence synthesis and identified four main task classifications that can be used potentially in code-switching analytics. The tasks include determining analytics algorithms, classification techniques, mood classes, and analytics flow. Results showed that CNN-BiLSTM was the machine learning algorithm that affected code-switching analytics accuracy the most with 83.21%. In addition, the analytics accuracy when using the code-mixing emotion corpus could enhance by about 20% compared to when performing with one language. Our meta-analyses showed that code-mixing emotion corpus was effective in improving the mood analytics accuracy level. This SLR result has pointed to two apparent gaps in the research field: i) lack of studies that focus on Malay-English code-mixing analytics and ii) lack of studies investigating various mood classes via the code-mixing approach.