• 미술이론과 현장
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• 제5호
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• pp.109-133
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• 2007

What a concept of theatricality in modern art became more controversial is through a review "art and object-hood" on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967-1971. That is because the name of this group itself is what was borrowed from "Poor Theatre" in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.

• 조형예술학연구
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• 제3권
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• 문화기술의 융합
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• 제10권6호
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• pp.605-612
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• 2024

미술은 문화적, 예술적 표현의 중심으로서 여러 시대와 지역에서 사회적, 정신적으로 중요한 역할을 해왔다. 미술품에 대한 소비자 인식은 미술의 시장의 발전과 미술을 매개로 하는 산업의 발전에 큰 영향을 미칠 수 있는 중요한 요소이다. 미술품에 대한 기존 연구는 미술 작품에 대한 연구이거나 전문적 영역에서의 미술품 소비에 제한을 두고 있어 대중적 차원의 미술품 소비에 대한 인식을 파악하는데 한계가 있다. 본 논문은 다양한 대중적 미술품에 대해 소비자들이 개인적 차원에서 중요하게 생각하는 미술적 요소, 사용 목적, 주제, 감정적 심리적 요인을 분석하여 미술의 대중화와 미술 시장의 성공적 발전의 기초를 제공한다. 이를 위해 대중들이 일상 생활에서 접하는 미술품에 대한 후기 데이터를 텍스트 마이닝 기법으로 분석한다. TF 분석을 통해 수집된 데이터에 대한 키워드를 추출하고 Word2Vec 분석을 통해 핵심 단어의 분포를 분석하고 BERTopic을 이용한 미술품에 대한 소비자 인식의 토픽을 분석하였다. 분석 결과로 대중적 미술품에 대한 소비자의 주요 인식 요인들은 색감의 시각적 요소, 스트레스 해소의 심리적 요소, 풍경과 같은 미술품 주제, 죽음과 우울과 같은 감정적 요소, 그리고 학교수업과 같은 교육적 요소였다. 본 연구의 결과는 대중의 취향을 반영한 창작 방향성 제시, 미술의 대중화 촉진, 그리고 예술 교육과 심리 치료에서 중요하게 고려되어야 할 요소, 미술이 적용된 다양한 제품의 디자인 요소 그리고 미술 시장의 확장에 기여할 수 있다.

• 한국조경학회지
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• 제37권5호
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• pp.64-77
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• 2009

조경에서는 문화와 철학의 차이에서 오는 다원적인 표현을 추구하고, 조경가는 그 시대의 문화를 반영한 독특한 환경을 제공함으로써 동시대의 세대에게 사회적 목적과 공간적 관계에 대한 감각을 전해준다. 특히 조경가는 설계작품을 통해 그 시대의 예술을 반영하게 되며, 당대의 예술 특성을 현실공간에 투영하게 된다. 역사적으로 조경가들은 모든 형태의 예술행위에서 많은 모티브(motive)를 찾아 왔으며, 특히 회화는 형태 구성에 직접적인 영향을 주어 조형개념의 근간을 이루기도 하였다. 조경에서의 미니멀리즘(Minimalism)은 모더니즘 시대를 통해 상실되었던 미적 대상으로서의 경관과 경관에서의 예술성 향상 그리고 동시대예술의 구현이라는 조경에서의 예술참여적 성격 표방에 상당한 기여를 하였다. 따라서 본 연구는 미술의 미니멀리즘 조형개념이 조경설계의 조형개념에 미친 영향을 설계 작품의 해석적 연구를 통해 미니멀리즘의 수용과 재현 양상을 밝혔으며, 조형개념 특성을 다음과 같이 요약할 수 있다. 첫째, 미니멀리즘 조경의 환원성(reduction)은 원 삼각형 사각형과 같은 단순기하학의 함축된 형태언어를 사용하여 이용자가 즉각적으로 작품의 정체성을 파악하고, 작품의도를 용이하게 파악하도록 하였다. 둘째, 확장성은 선적 요소의 채택으로 개별 요소 상호간을 연결하는 내적 질서와 시각적 방향성을 위한 외연적 활로를 찾고 있다. 셋째, 평면성은 주변 환경과의 차별화를 통하여 무의미한 공간을 정의하고, 경관 연속체로서 지각을 유발하고자 평탄하게 조성된 부지에 부가 요소를 중첩시키거나 시각 이미지를 위해 포장을 패턴화하는 경향을 가진다. 넷째, 연속성은 공간의 중심성을 확보하고 개별공간의 독자성보다 부지의 전체성을 추구하여 조형요소의 반복적 구성과 소재의 반복을 통한 구성 등의 특성을 가진다.

• 한국실내디자인학회논문집
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• 제33호
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• pp.75-82
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• 2002

Holography provides a medium for creative visual experiences in space and scale. It has been firmly established as a tool for scientific and engineering studies. It could be creatively used in interior architecture and display as a practical device and as a form of art. Basic principles and features of holography are explained. Design of the holographic systems are illustrated in some interior architectural applications. It is believed that holographic elements can make a valuable contribution to interior architecture design by controlling light and creating new concepts of colour and space.

• 디자인학연구
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• 제9권
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• pp.701-712
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• 1994

We are in the process of the deepening of the informationalized society. Such a phenomenon(of deepening of the informationalized society) means that human being is surrounded by a linguistic or semiological environment instead of realistic experience. And it is concerned with the visual design composed by the visual languages and semiotics of Arts. Because the visual design is a kind of the linguisticsmion using the visual formation. This penomena necessarily brings the expansion of the quatity of information and accompanies the simplification of messages. Therefore when we apply the simplicity resulting from the ideality of KYEORE painting(the folk Art of Korea), it can be cotribute to those who should be in the center of semiological environment more deeply as a source to maximize the effect of communication, which is the conclusion of this study. In sort, the characteristics of our KYEORE painting is the ideal expression. There are found not a few problems such as the depiction of forms, the perspective representation, the chiaroscuro, the expression of material if we evaluate them from the western formative viewpoint. But the depiction of the fact is less direct than the ideal expression itself, is likely to be much complicated, and can be far away from the world of reality. Because it is just the first step for satisfying the ideal images in man. In the composition of KYEORE painting is dominated by the rules nonprescription of time amd place, colloquialism of the meaning, distinction maximization. They are all the compositive characteristics resulting from the ideality. If these characteristics are modulated intelligently to the current thoughts, they will help to build the new visual communication system of Korea which has more direct and fast absorption force.

• 한국과학예술포럼
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• 제29권
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• pp.279-292
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• 2017

본 연구는 극영화를 비롯한 애니메이션의 갈등을 효과적으로 비주얼스토리텔링(Visual Story Telling, VST)하는 것이, 작품의 성공 여부를 결정짓는 중요한 요인이라고 인식하면서 시작되었다. 본 연구의 목적은 그동안 서사적, 시각적 차원에 치중한 VST 연구를 갈등강도와 VST 요소를 분석하여, 공학적으로 해석하는 것이다. 따라서 본 논문에서는 전 세계적으로 흥행에 성공한 극장용 애니메이션(4편)의 갈등을 분석하고, 이를 공학적으로 접근하여 VST 해석을 시도하였다. 연구결과 및 내용은 다음과 같다. 첫째, 성봉선과 로버트 맥키의 서사적 이론을 바탕으로, 갈등 장면을 분류하고 갈등의 종류를 찾아내었다. 또한 강위역의 5B모델을 바탕으로 총 108 개의 갈등 샷(shot)을 추출하였다. 둘째, 전문가 실험을 통하여 갈등 샷의 갈등강도를 찾아내었다. 셋째, 내적, 초개인적 갈등에서 각각 15개의 유의미한 갈등의 시각적 요소를 추출하였다. 넷째, 실험 결과로 내적, 초개인적 갈등에서 시각적 요소의 신뢰성은 100-83.33% 의 범위에 있다는 것을 확인하였고, 사용빈도는 각각 5.88-70.59% 및 5-70%까지 광범위하게 분포한다는 것을 파악할 수 있었다. 이는 아티스트(Artist)의 감각에 의존하던 VST 표현을 공학적으로 해석할 수 있게 됨을 의미한다. 이러한 연구결과를 바탕으로 애니메이션 사전제작 단계에서 작품의 갈등표현을 성공적으로 예측할 수 있게 해 줄 VST 툴(Tool) 개발의 토대가 될 것으로 기대한다.

• 조형예술학연구
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• 제7권
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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.

• 한국콘텐츠학회논문지
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• 제12권9호
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• pp.40-47
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• 2012

미디어 아트는 새로운 경로의 인식과 지각을 동반하고, 기존의 미술과는 다른 인간의 신체를 도구화 하여 상호작용을 만들어내는 새로운 감상방식을 제안한다. 시각적인 영상을 제작하는 방식 중 포인트 클라우드는 점으로 형태를 표현한다는 점에 있어 서양미술의 점묘법과 유사하며 이는 전통회화 기법을 디지털 기술을 활용해 재구성한다는 의미를 가진다. 본 논문에서는 미학적 요소와 디지털 기술을 융합한 새로운 감상방식으로 포인트 클라우드 형태의 영상을 제작하여 홀로그램 필름에 투사하고, 관람자의 손짓이 영상과 상호작용하는 콘텐츠를 제시한다. 콘텐츠 제작은 콘텐츠 제작 배경 의도를 기획하고 포인트 클라우드 형태의 이미지 제작, 상호작용을 위한 3D 제스처 디자인 과정을 거쳐 최종적으로 홀로그램 필름에 투사하는 과정을 거친다. 콘텐츠는 사람의 의식 속에서 일어나는 기억의 회상 과정을 시각적, 체감적으로 표현한다. 이를 위해 기억의 회상 과정을 불확실한 기억, 기억의 구체화, 완전한 회상으로 설정하였다. 불확실한 기억은 포인트 클라우드 형태의 이미지를 통해 모호한 형태의 이미지로 표현되고, 상호작용으로 이미지를 조작하는 행위를 통해 기억을 구체화 해 나가면서 완전한 회상을 하게 된다.

• 한국콘텐츠학회논문지
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• 제19권5호
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• pp.562-571
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• 2019

예술과 미디어 기술을 융합한 새로운 장르의 공연콘텐츠 시장의 확장은 전통적인 무대미술 표현범위의 한계를 넘어 창의적인 시공간적 표현을 자유롭게 하며 공연예술분야 내 블루오션으로 성장하고 있다. 이러한 시대적 변화와 요구에 따른 공연예술 산업 발전에 이바지할 예술 기술 융합 콘텐츠 제작이 가능한 융합 인재 수요가 급증하고 있다. 이에 따라 대학의 무대미술 전공 관련학과에서는 기존의 미술교육 외 시대에 상응하는 무대영상 및 다양한 미디어 매체 기술(가상현실. 홀로그램, 인터렉티브 모션센서)등을 공연예술 분야 시각화 과정에 접목시키는 역량제고를 위한 교과목 개발이 시급하다고 판단했다. 본 논문은 최근 10년간 미디어기술 융합공연 사례분석을 통하여 구체적인 기술융합 무대미술 전공 교과목 개발에 관하여 연구하고자 한다. 무대미술과 미디어 기술 융합교육 시도는 기존의 전통적인 무대미술 개념을 기반으로 작품성과 더불어 창조적인 시각적 표현의 한계를 뛰어넘는 융합인재 양성의 초석이 될 것이다.