• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.241-252
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• 2023

Watercolour painting was introduced to China over a hundred years ago, and in the last two decades, it has developed rapidly, presenting a situation of diversified development. While Western-style watercolour painting has been adopted by Chinese painters, they have also expanded on it with their own aesthetic awareness and cognitive styles. As a result, Chinese watercolour painting has developed a set of expressive techniques that highlight the cultural characteristics of the nation in terms of aesthetics, concepts and techniques, resulting in a painting style with a distinctive national personality at present. Although Chinese watercolour painting has taken on a variety of styles with the intervention of modern and contemporary art, realistic watercolour painting is still the mainstream. However, there are obvious differences between the "realism" of Chinese watercolour painting and the "realism" of Western watercolour painting in terms of expression. The most distinctive feature is the "imagery" language of expression, which is closely linked to the cultural heritage of Chinese tradition and is of great value for research. I interpret the aesthetics, composition, colour and brushwork of Chinese realistic watercolour painting from the perspective of traditional Chinese aesthetics in order to deepen the understanding of Chinese realistic watercolour painting and to provide a reference for the further development of the art of Chinese realistic watercolour painting.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.101-106
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• 2019

This paper considers the historicity and aesthetical implications of in the art world of Paul Ryan(1943-2013) who designed the aestheticization of relational circuit of society by realizing the value of social transformation being inherent in video with cultural practices and suggesting the interdisciplinary method of leaning and research in the early video art history. To do this, in Chapter II, I review the first artwork presented firstly in the art gallery exhibition "TV as a Creative Medium" in 1969, in which Ryan proposed a video medium as a communication system and experimented the concept of 'feedback' in Cybernetics. And Chapter III focuses Ryan's discursive activities contributed to magazine Radical Software and artist-collective Raindance Corporation with growing interest in communication technology. At this time, Ryan regarded video medium as the tool for cybernetic expansion. Finally Chapter IV deals with the development of ecological method based on "a shared perception of environmental realities" and verifies Ryan's vision that video medium would be most effective means of social change and communication.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.231-235
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• 2023

Currently, China's urban landscape is undergoing a gradual shift from incremental development to stock renovation. Furthermore, the planning and development objectives of urban communities have evolved from solely focusing on physical space construction to promoting sustainable development within a humanistic society. The current approach to community planning and construction, which emphasizes a singular dimension of residential life, overlooks the multifaceted aspects of community life and production. This oversight leads to a lack of attention to interpersonal relationships within the community, difficulties in establishing a connection between people and their environment, and numerous other issues. Consequently, this paper seeks to redefine the concept of sociality within community spaces by considering the continuum of time and space within communities. It aims to delineate the roles of "power" and "rights" within the community context, with a particular focus on everyday life, in order to reevaluate strategies and methods for fostering dynamic community development.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.95-103
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• 2021

I began to produce a series of works based upon the plastic element as a visual transmission -such as points, lines, sides, volumes and cubics, movements with in time, and space- which appeared in the optical art, that emerged in the 1950s and the early 1960. My works, which portray the natural scenes such as mountains, trees, and flowers that are commonly seen around us, are completed by drawing, erasing, filling with many points and overlapping. My works also ignore the scenography. All artistic activities must be based upon humanistic values and ultimately need to work for human being. The work with application of opt art did not use the perspective, but diverse colors. The work with application of opt art did not use the perspective, but diverse colors. The work tried to express more diverse impression rather than the emotion from the familiar perspective. We hope, therefore, my works give pleasure and satisfaction to these who come to see them.

• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.105-113
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• 2021

Through the analysis of Gerhard Richter's works of art in the period of "fuzzy image", this paper expounds the special internal quality of fuzzy image in Richter's works and reveals an important direction of the development of contemporary easel painting, The special essence of Richter's vague image is that he uses photos to reflect the power and authenticity of the existence of the objective things. He was not satisfied with the radical way of modern painting and tried to return to the traditional way of painting, but in fact Richter kept a special distance between classical painting and modern art. Richter not only blurs the image in his creation, but also shows that he wants to show the objectivity of things, keep the distance, authenticity and give up painting. Richter used fuzzy images to capture the concept of "visual unconsciousness", and finally separated from the concept. When we read how Richter showed the reality of things in the way of painting, we also saw a kind of contradictory psychology when he faced the complicated objective.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.77-84
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• 2022

This study focused on the spirit to becoming the true "I" as a human, and it attempted to pay attention to the "images" sent by the unconscious to prompt the reality of that spirit. The purpose of this study was to identify the symbols in myths and folk tales that appeared in the individual's dreams and to shed light on how the universal experiences of humankind are re-experienced and integrated into an individual's life. This study used a total of 105 mandala paintings collected through the researcher's own dreams from February 2019 to September 2020. Among them, repeated symbols were classified into basic shapes, squares, crosses, triangles, circles, and spirals, as suggested by Riedel. The study truthfully described the discovery of a practical layer of psychology as a human's individualization and changing, resulting in autoethnography, which is a type of qualitative study.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.533-543
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• 2023

This study explores the influence of the COVID-19 pandemic on the Korean art market and contrasts the classic hedonic method of art price prediction with the Artificial Neural Network technique. The empirical analysis of this paper utilizes 14,639 observations of Korean art auction data from 2015 to 2021. There are three types of variables in this study: artist-related, artwork-related, and sales-related. Previous studies have suggested that these three types of variables influence art prices. The empirical findings in this research are in twofold. First, in terms of RMSE and R², the Artificial Neural Network outperforms the hedonic model. Both techniques discover that sales and artwork variables have a greater impact than artist-related attributes. Second, when the primary factors of art price are controlled, Korean art prices are found to fall dramatically in 2020, shortly following the onset of COVID-19, but to rebound in 2021. The main lesson in this study is that the Artificial Neural Network enhances art price prediction and reduces information asymmetry in the Korean art market even in the face of unanticipated turmoil such as the COVID-19 outbreak.

• International Journal of Advanced Culture Technology
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• v.9 no.4
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• pp.1-8
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• 2021

Since the late 20th century, various projects in the public domain where local communities and art organizations collaborate have been attempted in miscellaneous ways. In terms of anticipating an active attitude of the community, socially engaged project focuses on proactively changing everyday life and environment of people. An art collective, Assemble who won the Turner Prize in 2015 for one of their projects named Granby Four Streets (2013) has been admitted as an exemplary of this phenomenon, and it appears frequently in discussions about community-led projects. We investigate Granby Four Streets, as well as the documentation formed by the perspective of third parties based on the surveillance and criticism aspects. It asserts that the limitation of socially engaged projects that are kept ephemerally and easily forgotten could be overcome with the concept of documentation and its practice.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.545-551
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• 2023

In this paper, we present the environment interface as a method of bringing the virtual environment in the interface to reality, and explain the experience of the virtual that can be sensed in the real environment. Expanded experience by discussing the transparency of the interface and interactivity that expands synesthesia as a condition for an interface to express virtual without distinction from the real environment, and establishing a discussion on the composition and inevitability of an environment interface that satisfies these conditions The environment interface is discussed as a tool for realizing the interface that extends from the real environment, the expansion of cognition into the environment by interaction, and the virtual for immersion into the environment due to these conditions.

• International Journal of Advanced Culture Technology
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• v.8 no.4
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• pp.242-248
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• 2020

Most works of art are done through brokers, and transaction details are not disclosed to the public and are always at risk of tampering. To solve these problems, many Artworks Blockchain Platforms that apply blockchain technology to art transactions are being used. Several companies are currently operating these platforms, but since various blockchain platforms are operated according to the content, the operating methods of each platform are different, and a related model is needed to solve these problems due to compatibility issues between platforms. In this paper, we collect the latest Artworks Blockchain Platforms data, and based on this, we will create and analyze the Color Petri net model of Artworks Blockchain Platform.