• 한국게임학회 논문지
• /
• 제4권3호
• /
• pp.29-42
• /
• 2004

비디오 게임은 하드웨어와 3D그래픽 기술의 발달에 따라 90년대 후반 이후 전적으로 환영을 추구하고 영화의 형식을 답습하는 쪽으로 진화의 방향을 잡아가고 있기 때문에 스펙터클 중심의 미디어로 인식되고 있는 것이 사실이다. 그러나 비디오 게임은 그 태생적인 특성 때문에 기존의 환영 중심의 오락물처럼 투명한 미디어가 될 수 없다. 그 구조를 살펴보면 플레이어로 하여금 지속적으로 미디어의 존재를 각성시켜 환영으로부터 벗어나게 하는 요소가 발견되기 때문에, 플레이어는 엄밀히 말하면 환영에 도취되는 것이 아니라 내부의 콘텍스트와 일정한 거리를 유지하는 관계를 취하고 있다. 오히려 게임은 환각에 의존하기보다 연극에서 발견되는 일종의 컨벤션과 유사한 플레이어와의 계약에 의존하여 플레이어의 적극적 상상력을 개입시켜 내부의 불완전한 요소를 투명화 시킨다고 할 수 있다. 본 연구에서는 비디오 게임에 나타나는 환영 붕괴 요소를 찾아 분석하고 이것이 플레이어와 게임 사이에 탄생시키는 연극적 계약에 관해 논하고자 한다. 연구의 취지는 스펙터클 오락물로서의 비디오 게임에 대한 인식을 재고하여 게임문화의 미래적 진화방향을 탐색하는데 있어 도움이 되고자 함이다.

• 한국연극학
• /
• 제52호
• /
• pp.229-270
• /
• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• 복식문화연구
• /
• 제6권4호
• /
• pp.13-25
• /
• 1998

This study focuses on the visual effects of various neckline-haristyle combinations on the perception of face image and type. The study employed a model with oval face and examined 35 combinations made up of five necklines and seven hairstyles. Looking at various face images depending upon different necklines, in case of round, V, boat square, and high necklines, long wave hair and medium wave hair produced a feminine image of marked individuality; long straight hair that covers the forehead and medium straight hair gave an image of charm and purity as well as an image of neatness; and long straight hair short cut hair showed an intellectual image. Regarding the perceptual type of face depending upon the different necklines of round, V, square, and high, the long straight hair covering the forehead and medium wave hair had the effect of an optical illusion that made the face look short and round; and short cut hair made the face line look distinct and the face look oval and slender.

• 복식
• /
• 제44권
• /
• pp.104-116
• /
• 1999

This study was intended to make an inquiry into the effect of lines, shapes and colors (achromatic colors) as apparel design elements on the perceptions of facial size, brightness and shape through an empirical research based on the theories of visual perception and optical illusion that have been studied in Gestalt Psychology, which becomes the basis of apparel design principles. It was shown that the facial size was influenced by the collar size, the degree of neckline cut, and the thickness of the trimming line. The white scarf with the white jacket made the face look darkest while the black scarf with the black jacket made the face look brightest. When the neckline had the characteristic of the line contrasted with the facial shape, the oval-shaped face was perceived to be the most ideal. When the facial shape and the neckline shape were similar, the facial shape was perceived to be more highlighted.

• 한국실내디자인학회논문집
• /
• 제39호
• /
• pp.12-19
• /
• 2003

M.C Escher was not a mathematician or architect, but a visual graphic woodblock artist. He expresses space in various angles such as illusion and space not represented in reality, repetition, geometric pattern and change in space vision. However, as his works represent the impossible space which is virtually not exist in reality, they were examined numerically by scientists and mathematicians rather than by designers. Because his distinctive approach to view space, his works have been highly evaluated by scholars in various fields. Based on the previous research by mathematicians and scientists, this study will examine the sp- atial logic was represented visually in the works of M.C Escher and find out the possible and adoptable alternatives for new space design and provide the design application direction in the expression of interior space.

• 한국멀티미디어학회논문지
• /
• 제21권12호
• /
• pp.1513-1525
• /
• 2018

This study examines the mechanism of how the dispositif, a dispositional concept of television, which is changing in form, Q-Sheet, is expressed as 'ideology' embedded in television. The dispositif implemented in television aims at the realization of mechanical desire through the internal disposition and makes the reality that it dazzles the public by adjusting the density of the gap and depreciates the existence of the aura itself. Instead of gaining new experience through the disposition, the public accepts the manipulated experience and falls into the illusion that it is true. In the television literacy program, the Q-sheet acts in the intervals and gaps that exist in the movement between the stacks, spreading the ideology, and the act of Channel Surfing by using the remote control is also a dispositf form of television viewing. In modern capitalist societies, television disposition are regenerating through proliferation and expansion, showing intent to dominate even art and culture through disposition, and autonomously injecting ideologies by television disposition.

• 조형예술학연구
• /
• 제1권
• /
• pp.125-164
• /
• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• 한국조경학회지
• /
• 제43권2호
• /
• pp.30-39
• /
• 2015

픽처레스크 미학과 풍경화식 정원은 자연을 그림과 같이 정태적으로 감상하게 만드는 이른바 회화적 자연관의 전범으로 인식되어 왔다. 이러한 해석은 당시의 시각 문화를 선원근법에 의존하여 설명한 데에서 연유한다. 실상 당시는 새로운 시각 매체의 발명에 따라 종래의 원근법에 기반했던 시각성이 '유동적인 시각'과 '시점의 상대성'으로 요약되는 '움직이는 시각성'으로 변모해가는 바로 직전의 시기였다. 이 연구는 그러한 시각 문화의 변동에 주목하여 픽처레스크 미학과 험프리렙턴의 시각 매체에서 나타나는 '움직이는 시각성'의 징후를 읽어내고자 한다. 18세기 독일의 정원 이론가 히르시펠트는 풍경화식 정원은 구불구불한 선을 이용하여 움직임의 환영을 만들어낼 수 있으므로 다른 예술 형식보다 우월하다고 분석했다. 18세기 말 야기된 픽처레스크 논쟁에서 아마추어 이론가들은 회화에서 복잡하고 다채로운 시각의 변주를 중요하게 여기고, 정원도 그러한 시각적 자극이 만들어지도록 설계해야 한다고 주장했다. 렙턴의 "레드북"에 수록된 스케치에서는 움직이는 시각성이 반영된 다양한 재현 전략들이 발견된다. 렙턴은 속도의 차이를 고려하여 여러 유형의 길을 체계적으로 설계했고, 인간의 시각장을 표현하기 위해 회화적 프레임이 아닌 파노라믹 뷰를 활용하였으며, 현실에서의 움직임과 유사한 시각적 경험을 만들어내기 위해 여러 스케치들을 전략적으로 배열하였다. 이와 같이 픽처레스크 미학과 렙턴의 시각 매체는 당대 시각 문화에 새롭게 등장하기 시작한 움직이는 시각성을 반영하고 있었다.

• 한국실내디자인학회논문집
• /
• 제20권5호
• /
• pp.135-142
• /
• 2011

This study applies the 'interface' as the concept to interpret the facade design of parking garages. This study investigates the characteristics of interface design in the parking garages to improve design qualities of parking garages as a daily living space as well as a public space in today's city. The facade of parking garage is an interface between the urban streets and the parking space. Three concepts of interface and design in parking garage are defined. The concept of interface is explained as a boundary surface which activates communication and interaction. In facade design of parking garage, three main concepts of interface design are screen, communication and mobility. Through the investigation of the examples, this study summarizes the characteristics of the facade design of parking garage as follow; first, the facade of parking garage is designed as a screen which represents immateriality by specially selected and arranged surface materials. The screen facade is designed as one homogeneous surface as well as an irregular pattern with operable louvers. Second, the facade of parking garage is designed as a communication media to deliver direct information. The representation of natural or artificial characteristics at the local areas is to communicate with the people in the community. Third, the facade of parking garage is represented mobility which a car symbolizes. It emphasizes various movements and visual changes by movements. People can experience the visual changes of the building facade as they walk or drive. The visual changes of the facade are caused by natural elements such as wind and light as well as an optical illusion.

• 만화애니메이션 연구
• /
• 통권33호
• /
• pp.449-467
• /
• 2013

21세기의 현대사회는 테크놀로지의 비약적 발전을 이루었으며 다양한 디지털 기기의 등장으로 인한 매체의 다각화로 시각적 표현의 한계는 점점 축소되고 있다. 따라서 테크놀로지와 예술의 융합은 시각예술 표현의 한계선을 최소화하였고 대중은 그들이 만들어 낸 현실과 비현실의 경계를 넘나드는 새로운 시각 자극에 신선함을 느끼게 되었다. 그러한 새로운 접근 법 중 하나인 빛에 대한 테크놀로지와 예술의 조합은 다양한 순수예술이나 영상 디자인과 같은 시각예술분야로 포함되고 있으며, 그 중 현재 고해상도의 프로젝터를 활용하여 건물이나 도시의 조각물 등의 구조물을 스크린으로 삼아 투영된 매핑(mapping) 테크놀로지를 예술에 접목하려는 시도가 최근 다양하게 연구 되고 있다. 본 연구에서는 새로운 테크놀로지로서 프로젝션 매핑(projection mapping)의 기법에 대한 정의를 문헌 연구를 통하여 고찰해 보고 매핑 사례 중 시지각적 효과를 극대화 하는 3D 애니메이션이 적용된 사례 연구와 더불어 그에 따른 영상 표현특성을 분석 하였다. 3D애니메이션을 통해 존재하지 않는 환영(Illusion)을 창조하고 대중에게 시각적 쾌감을 부여하는 프로젝션 매핑(projection mapping)과 3D 애니메이션의 조합은 앞으로 예술과 테크놀로지의 융합 이라는 시대사조에 걸맞은 시각예술의 새로운 가능성을 지닌 시너지효과를 창출할 것으로 기대된다.