• 제목/요약/키워드: Visual Arts

검색결과 429건 처리시간 0.032초

국민의 정부 시기 미술진흥정책의 성과와 한계 (Evaluation of Visual Arts Policy during Kookmin Government Period)

  • 양현미
    • 미술이론과 현장
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    • 제1호
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    • pp.93-108
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    • 2003
  • The aim of this thesis is to evaluate visual arts policy during Kookmin government period(1998-2002). In the beginning, many artists had expected president Kim Dae Jung to enlarge arts support But the evaluation of them was very negative because the government was only interested in the development of cultural industry. First, I analysed the government expenditure in the visual arts. Department of Culture and Tourism took the responsibility of visual arts policy. The budget of arts and culture increased to 1 % of total government expenditure in this period. But the main factor was the increasement of cultural industry and tourism expenditure. The budget of visual arts in 2002 was only 6,600million won. Second, I analysed visual arts support programs. (1) The government introduced studio programs for the first time. For 5 years, 2 national studios and 23 public studios were established. (2) The number of art museum was increased to 62. (3) It introduced alternative space support program and supported 200million won annually. (4) Percent for art scheme reduced from 1% to 0.7% of total construction cost, but still 27 public sculpture gardens were built. (5) Business support for visual arts reduced because of IMF. (6) Also arts market froze and many commercial galleries were closed. (7) In order to revitalize region through arts and to promote international exchange of culture, Gwangju Biennale was created. Third, I analysed Arts Plan 2002. It had a radical limitation because it was established in the last year of Kookmin government period. Also it showed special favors to some arts organizations. In general, I think that positive outcomes are the introductions of the studio program and the alternative space support program. Especially alternative space support program enforced the diversity of visual arts, and encouraged creative young artists. But policy of arts market failed because of IMF and visual artists had to go through rough times.

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시각예술 작가 기록물 수집전략 및 기록정보 관리 연구 (A Study on Acquisition Strategy of Records for Artists and Their Records Information Management)

  • 정공주;박주석
    • 기록학연구
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    • 제40호
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    • pp.61-93
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    • 2014
  • 활용 가치가 높은 아트 아카이브즈의 구축을 위해서는 무엇보다 작품의 생산자인 시각예술 작가의 기록관리가 선행되어야 한다. 시각예술 작가 개인의 기록이 정리가 된 후 하나의 작가 컬렉션이 완성이 되어 그 결과가 모이면 장르, 시기가 다양한 작가 아카이브즈는 물론 아트 아카이브즈의 기본이 되기 때문이다. 본 연구는 기록관리의 대상인 작가 개개인의 예술적 특성을 반영한 관리 방법론을 통해, 작가의 기록물을 효과적으로 수집하기 위한 수집전략과 작가의 기록이 문화자원으로서 활용의 가치가 있도록 기록을 관리하는 것을 목적으로 시각예술 작가의 기록물 및 기록정보 관리 방안을 제시했다. 또한 체계적으로 관리된 작가의 기록물 및 기록정보를 바탕으로 다양한 문화자원으로 활용함으로써 시각예술 작가 기록의 가치와 중요성에 대한 인식의 확장을 위한 연구도 포함했다.

시각예술에 있어서 숭고(the sublime)의 문제 : 리오타르의 포스트모던 숭고론을 중심으로 (A Study on the Problem of the Sublime in the Visual Arts - J.-F. Lyotard's Theory on the Postmodern Sublime -)

  • 박남희
    • 조형예술학연구
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    • 제3권
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    • pp.178-224
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    • 2001
  • This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

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문화예술지원사업 추진상의 쟁점과 정책방향 - 시각예술창작산실 공간·전시 지원사업을 중심으로 - (Controversial Issues and Policy Alternatives in Promotion of Arts and Culture Grant Program: Focusing on Space and Exhibition Support Project of Visual Arts)

  • 고정민;장신정;장윤정
    • 예술경영연구
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    • 제52호
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    • pp.39-73
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    • 2019
  • 본 연구는 시각예술창작산실 공간·전시지원 사업 추진상의 쟁점과 대안 모색을 하고 이를 통해 문화예술 지원사업의 방향성을 제시하고자 하는 것이다. 본 연구를 위해 문헌고찰 후, 지원사업 관련 직접 수혜자 집단과 지원사업 담당자, 그리고 시각예술 전문가 집단의 FGI 및 심층인터뷰를 하였다. 연구 결과, 지원사업의 특수성을 고려하여 지원심의와 선정이 실제 지원시기보다 충분히 여유를 두고 실행되어야 하며, 비영리전시공간과 사립미술관의 사회적 역할과 차별성에 대한 이해를 바탕으로 한 두 사업으로 구분하여 진행할 필요가 있다는 점을 공유하였다. 지원 방법과 평가에 관해서는 지원사업의 효과성을 고려한 장기지원이 요구되며, 지원 주체와 수혜자 사이의 신뢰성을 회복하는 건강한 파트너십 형성의 필요성, 그리고 평가기준과 e나라도움 시스템이 보다 효율적이고 합리적 구축되어야 하며, 해당 지원사업의 정체성에 부합하는 예산의 효율적 배분 및 항목의 유연성, 그리고 예산부족에 대한 쟁점이 도출되었다. 이러한 분석을 통해 시각예술지원사업의 특수성 이해, 지속가능한 시각예술창작 산실 정책의 수립, 예산활용이 자율성 부여 및 예산확충 등의 시사점을 도출하였고, 더 나아가 문화예술지원사업은 통제보다 효율성을 중시하는 방향성, 공급자 보다 수요자 입장을 고려한 방향성, 단기적 관점이 아닌 장기적 관점의 사업기획을 해야 한다는 방향성이 도출될 수 있었다.

융복합교육 프로그램을 위한 기반으로서 시각적 문해력(Visual Literacy) 개념 검토 (An Examination on the Concept of Visual Literacy as a Basis for Convergence Education Programme)

  • 박건규;김원석
    • 디지털융복합연구
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    • 제14권12호
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    • pp.397-403
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    • 2016
  • 본 연구는 미술교과를 중심으로 하는 융복합 교육 프로그램을 수행함에 있어 중요한 기반이 되는 시각적 문해력(Visual Literacy)의 개념을 검토한다. 시각적 문해력은 문자에 대한 문해력이 그러하듯이 주체에게 시각적으로 주어지는 정보를 이해하고 적절하게 다룰 수 있는 능력을 의미한다. 청소년층의 생활전반에서 뉴미디어를 통해 접하는 시각정보가 많고 다양한 만큼 시각적 문해력의 필요성이 대두되는 것은 당연하다. 따라서 뉴미디어를 적극 활용하는 융합교육 프로그램의 수행에서 시각적 문해력은 프로그램의 수행을 위한 기반이 된다. 여기에는 뉴미디어를 사용하여 시각정보를 교환하며 서로 소통하는 능력도 포함된다.

Relational Benefits and Visual Arts Outcomes via WeChat Business

  • Cui, Yu Hua
    • 패션비즈니스
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    • 제23권6호
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    • pp.16-26
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    • 2019
  • The purpose of this study was to understand the effect of WeChat relational benefits on customer satisfaction and purchase intention. Due to the rapid development in the technological field, the use of WeChat has expanded drastically in recent years. In visual arts industry, WeChat business occupies a significant proportion of emerging industries. The recruited participants that were recruited via an online survey website were 335 (www.sojump.com). SPSS 22.0 statistical system was used to analyze the descriptive statistics, reliability, and validity. This study conceptualizes the positive relationship among relational benefits, customer satisfaction, and purchase intention of visual arts products. The findings indicated that WeChat users' relational benefits can be categorized into two distinct benefit types: confidence, and social benefits. The more relational benefits WeChat users perceived, the higher the level of satisfaction. In contrast, the positive influence of customer satisfaction on purchase intention is weaker in consumers with a higher level of perceived risk. The results of this study will help WeChat business to retain its customers, thus, gaining a long-term value for visual arts industry. Theoretical and managerial implication for WeChat business are provided.

Martial Arts Moves Recognition Method Based on Visual Image

  • Husheng, Zhou
    • Journal of Information Processing Systems
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    • 제18권6호
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    • pp.813-821
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    • 2022
  • Intelligent monitoring, life entertainment, medical rehabilitation, and other fields are only a few examples where visual image technology is becoming increasingly sophisticated and playing a significant role. Recognizing Wushu, or martial arts, movements through the use of visual image technology helps promote and develop Wushu. In order to segment and extract the signals of Wushu movements, this study analyzes the denoising of the original data using the wavelet transform and provides a sliding window data segmentation technique. Wushu movement The Wushu movement recognition model is built based on the hidden Markov model (HMM). The HMM model is trained and taught with the help of the Baum-Welch algorithm, which is then enhanced using the frequency weighted training approach and the mean training method. To identify the dynamic Wushu movement, the Viterbi algorithm is used to determine the probability of the optimal state sequence for each Wushu movement model. In light of the foregoing, an HMM-based martial arts movements recognition model is developed. The recognition accuracy of the HMM model increases to 99.60% when the number of samples is 4,000, which is greater than the accuracy of the SVM (by 0.94%), the CNN (by 1.12%), and the BP (by 1.14%). From what has been discussed, it appears that the suggested system for detecting martial arts acts is trustworthy and effective, and that it may contribute to the growth of martial arts.

미술교육에 있어서 시각적 미디어를 통한 조형교육에 관한 연구 (Visual Media Education in Visual Arts Education)

  • 박지숙
    • 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.

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