• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.161-171
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• 2006

As the very important artistic elements expressing a visual image, the color has been increasing the power of expression. But the relationship between the remarkable peculiarity of colors in accordance with other artistic elements inside the picture plane makes difficult to express an effective expression of color. In the adaptation of color as well as artistic style between & by W. Disney co. is very different each other in the manner of expression. By revealing the difference of the practical use of color and it's principle of those two works, I want to formulate a suitable use of color. In this paper, focus on how to active application of color in relationship between other artistic element and expressive peculiar of color. A right is not only the dominant component in color, but contrast also. A contrast is the most considerable element for modeling order. To emphasize expressive peculiar of color, an artist control artistic element properly and can make expressive energy of brightness & shape.

• 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 the Korean Society of Environmental Restoration Technology
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• v.1 no.1
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• pp.28-44
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• 1998

This study was conducted to suggest the ecological restoration strategies for the disturbed landscapes by theoretical study. Especially, it is aimed to suggest three objectives for restoration by using native plants ; (1) prevention or reduction of wind and water erosion, (2) provision of food and cover for variety of animal species, (3) improvement of the visual or aesthetic quality of disturbed sites. The main results were summarized as follows. 1. Cooperation between restoration ecologists and restoration practitioners is needed to delineate a scientific approach to restoration ; (1) Being aware of published literature that describes similar work and/or establish general principles. (2) Preparedness to carry out proper experiments to test ideas. (3) Preparedness to monitor fundamental parameters in a restoration scheme. (4) Providing information about the behavior of species. (5) Publish results. 2. There are three models of succession in theories of plant succession. The tolerance and facilitation models were recommended to ecological restoration. The inhibition model applies in most secondary succession, but the actual species which are introduced first may inhibit the germination and growth of slower-growing species, or they may prevent the growth of other species whose propagules arrive later. 3. The objectives of erosion control, wildlife habitat provision, and visual quality improvement are not mutually exclusive. However, many revegetation practices in the past have emphasized one of these aspects at the expense of the others. 4. A native plant community can be the model of ecological restoration. By stylization/abstraction of native plant community, trying to learn the most essential characteristics of community types - environmental factors ; dominant, prevalent, and "visual essence" species composition - in order to use such information in restoration. 5. After developing mass/spaces plan, match plant communities to the mass/space plan. In utilizing community grouping, there needs aesthetic ability to understand design elements. 6. Several hydrophytes such as Pennisetum saccharifluous, Themeda triandra, Cirsium pendulum show relatively good germination rates. In case of mesophytes and xerophytes, Arundinella hina, Artemisia princeps, Oenothera odorata and legumes seem to have quick-germinating abilities at barren sites. Pinus thunbergii, Rhus chinensis, Evodia daniellii, Alnus firma and Albizzia julibrissin can be considered as "late succession" woody plants because they show low germinating rates and slow growing habitat. 7. The seeds used for restoration should be collected within a certain radius of where it will be planted. Consideration in genetic issues in the collection and use of germplasm can increase the odds for successful restoration efforts. 8. The useful model in the "drift" pattern occurs so abundantly in naturally evolving landscapes. As one species diminishes in density, a second or third species are increased. Thus, dynamic interactions between species are created. Careful using of "drift phenomenon" in planting was recommended. 9. Virtually no stand of vegetation today is immune from the introduction and/or spreading of exotic species. Therefore, the perpetuation of a restored sites requires conscious monitoring and management. Thus, management would be the most important process in ecological restoration. 10. In order to keep the sites "natural", alternative management strategies would be applied in management ; Atenative management strategies are decelerating successional process, accelerating successional processes or modifying species composition. As management tools, mechanical, chemical, biological or environmental factor manipulation, e.g., fire could be used.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.2
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• pp.39-50
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• 2024

Color is an essential visual element that has a significant impact on the formation of a city's image and people's perceptions. Quantitative analysis of color in urban environments is a complex process that has been difficult to implement in the past. However, with recent rapid advances in Machine Learning, it has become possible to analyze city colors using photos shared by tourists. This study selected Dali City, a popular tourist destination in China, as a case study. Photos of Dali City shared by tourists were collected, and a method to measure large-scale city colors was explored by combining machine learning techniques. Specifically, the DeepLabv3+ model was first applied to perform a semantic segmentation of tourist sharing photos based on the ADE20k dataset, thereby separating artificial elements in the photos. Next, the K-means clustering algorithm was used to extract colors from the artificial elements in Dali City, and an adjacency matrix was constructed to analyze the correlations between the dominant colors. The research results indicate that the main color of the artificial elements in Dali City has the highest percentage of orange-grey. Furthermore, gray tones are often used in combination with other colors. The results indicated that local ethnic and Buddhist cultures influence the color characteristics of artificial elements in Dali City. This research provides a new method of color analysis, and the results not only help Dali City to shape an urban color image that meets the expectations of tourists but also provide reference materials for future urban color planning in Dali City.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.315-325
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• 2021

The value and importance of Gamification has intensified as the way Gamification is applied to social networking applications has added to users' interest and involvement to the product. Gamification entails the adoption of gaming techniques and modes of thinking in non-gaming domains to elicit user engagement. To this end, the paper draws on Gamification's analytical model, Octalysis, with the aim of identifying user loyalty of the three major Chinese social networking applications and extracting their characteristics. In this regard, the first task in the advancement of the study is to establish an understanding of the components and characteristics of Gamification within the context of available examples. Next, a questionnaire survey covering China's three dominant social applications, WeChat, QQ, and Xiaohongshu, is administered and their user loyalty is examined through Octalysis's eight analytical frameworks. By virtue of analysis, the results demonstrate that the three elements of game mechanics, Point, Badge, and Leadboard, which are external to the game, fail to sustain the user loyalty, but are merely a means to an end. Only by including a combination of social application features, contents and user needs can Gamification considerations be maximized to ensure that users are subjectively engaged with the product.

• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.4
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• pp.45-71
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• 1991

The landscape systems in Korean island settlements can be recognized as results of ingabitants' ecological adptation to the isolated environment with the limited natural resources. Both the fishery dominant industry in island society and ecological nature of its environments seem to have influenced on inhabitants' environmental cognition as well as the physical landscape of island villages such as its location, spatial pattern in each village, housing form and so on. This study was done mainly by both refering to the related documents and direct observations in case study areas, and results of the study can be summarized as follows. 1. In general, the landscape of an individual island seems to take more innate characteristics of island's own, corresponding to the degree of isolation from mainland. That is, while the landscape of island in neighboring waters takes both inland-like and island-innate landscape character at the same time, the one in the open sea far from land takes more innate landscape character of all island's own in the aspects of village location, land use and housing density etc. 2. The convex landform of most islands brings about more centrifugal village allocation than centripetal allocation in most inland villages. And thus most villages in each island face extremely diverse directions different from the south facing preference in most inland rural villages. 3. Most island villages tend to be located along the ecologically transitional strip between land and sea, so called 'line of life', rather than between hilly slope and flat land as being in most inland village locations. So they are located with marine ecology bounded fishing ground ahead and land ecology bounded agricultural site at the back of them. 4. The settlement pattern of the island fishing villages shows more compact spatial structure than that of inland agricultural villages, due to the absolute limits of usable land resources and the adaptation to the marine environment with severe sea winds and waves or for the easy accessability to the fishing grounds. And also the managerial patterns of public owned sea weed catching ground, which take each family as the unit of usership rather than an individual, seem to make the villagescape more compact and the size of Individual residence smaller than that of inland agricultural village. 5. The folk shrine('Dand') systems, in persrective of villagescape, represent innate environmental cognition of island inhabitants above all other cultural landscape elements in the island. Usually the kinds and the meanings of island's communal shrine and its allocative patternsin island villagescape are composed of set with binary opposition, for example 'Upper shrine(representing 'earth', 'mountain' or 'fire')' and 'Lower Shrine(representing 'sea', 'dragon' or 'water') are those. They are usually located at contrary positions in villagescape each other. That is, they are located at 'the virtical center or visual terminus(Upper shrine at hillside behind the village)' and 'the border or entrance(Lower Shrine at seashore in front of the village)'. Each of these shirines' divinity coincides with each subsystem of island's natural eco-system(earth sphere vs marine sphere) and they also contribute to ecological conservation, bonded with the 'Sacred Forest(usually with another function of windbreak)' or 'Sacred Natural Fountain' nearby them, which are representatives of island's natural resources.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.295-306
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• 2020

In 21st century, theater evolves into a complex aspects. Advanced visual media, such as photography and movies has brought crisis to theater's position, and that crisis led contemporary theater seek for distinctive strategy by repeatedly pondering over the format in which it can be more competitive than other arts. And postdramatic theatre is one of distinctive characteristics of this trend in contemporary theater. Among these flows, The aim of thesis is to study the phenomenon of postdramatic theatre and its practical application in the recently performed (2019) by Theater Group "Mul-Kyul". (2019) puts the body at the front, one of the features of the postdramatic theatre. When creating stage, or developing narratives, the process of characterization, or even highlighting dramatic themes, non-verbal focused theatrical expressions hold a dominant position over verbal expressions. Also, by combining various non-verbal elements like object, with body language, it builds a complex Scenography and creates a metaphorical expression. In this regards, I would like to classify the postdramatic theatre phenomenon shown in the (2019) into 'Disorganization of text through Scenography' and 'Collage of Body Language and Object' and consider its characteristics and meanings.