• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.210-221
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• 2017

First, we can define how our body perceives the external world and embodies its senses through the philosopher Merleau - Ponty. These philosophical orientations of Merleau-Ponty also appear to urban theorists such as Jane Jacobs, Gordon Cullen, and Juhani Pallasmaa. In other words, after the Second World War, people began to pay attention to human emotions and perceptions while opposing human rational thinking. Especially, they reject the abstract space of modernism and explore the everyday city space where the local character of the area lives. This place is a space where the collective memory of the group is shared over several generations. So, in this space, people's active perceptual system works actively. In the sense of this continuity of time, their ideas intersect with the concept of urban. Specifically, Jacobs criticizes massive development and proposes the development of a small block-based city with a commonality of old and new. In addition, we argue that urban space can be a visually interesting object through the continuous visual concept of urban theorist Cullen. In particular, he rediscovers the value of traditional urban space through visual experience between architecture and urban facilities. Finally, the architectural city theorist, Pallasmaa., criticizes the visual centrality of modern cities and thinks about the value of multidisciplinary space that can be experienced in architecture. This study examines the space of reproduction in detail on the perspective of the body philosophy and urban theorists. In other words, the play space inherits the natural city time, so when our body experiences this play space, we can actively sense and perceive the various senses. So we can invoke the active external actions of our bodies. Through the analysis of the size of the reconstruction space of the architectural city, various types of body senses and responses can be. Yoon Dongju Literary Museum, which renovated the old water tank of the city, can recognize the unfamiliar sense of body in everyday life through the traces and smells of water in the past and the restrained visuality. In addition, Seonyudo Park, which regenerates the waste water purification plant, can experience a phenomenal phenomenon through water space, old concrete and traces of steel. Finally, with the most recently played Seoul Road 7017 can experience interesting urban spaces in terms of a variety of plants, a human scale space creating movement, and a continuous visual.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.93-106
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• 2019

Persona is an actor's external ego constructed by playing various roles, and his/her another self-portrait in the eyes of the audience. This study was conducted to analyze persona identity containing core persona(CP) and to gain implications for the growth strategy of the actress Son Ye-jin called "melo queen" by verifying consistency between the CP and audience responses to her starring works of the past. According to the related theories and models, the persona was firstly set as image, visuality, personality and consistency, and it was used to extract and sort descriptive texts about Son related news articles in the last 5 years of the six major Korean newspapers using the content analysis method. After that, we analyzed the number of viewers of her movies and the audience share of her dramas by genre. As a result, Son's persona components were found to have a proportion for 54.2% images (34.0% for melo and romance images, 20.2% for non-melo and romance images), 25.6% for visibility, 13.8% for consistency, and 6.4% for personality. Her CP was derived from a melo and romance image. Comparing this with the audience reaction, the melo romance genre dominated and showed consistency in the drama, but in the case of the film, the non-melo romance was dominant and did not match each other. The results were attributed to a wide gap between dramas and movies in terms of key viewers, box office factors, degree of genre hybridity and experimentality. Therefore, Son should actively use her CP in the drama and challenge the various roles in order to expand her persona spectrum in the film.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.