• The Journal of the Convergence on Culture Technology
• /
• v.5 no.4
• /
• pp.79-85
• /
• 2019

'Experiments in Art and Technology' Group was established in the mid-20th century, and then developed the larger interdisciplinary experiments into the range of art world and its outside field. The motive power of group's activities was the collaboration between artists and engineers traversing the boundary between old different disciplinary conventions. E.A.T was officially launched in 1967 by the engineers Billy $Kl{\ddot{u}}ver$ and Fred Waldhauer and the artists Robert Raushenberg and Robert Whitman. They performed various possibility of material, technology, and engineering available to contemporary art. By reflecting the function of art and technology in society, eventually they developed the methodology of new aesthetics which had organic relationship with contemporary world. In this sense, this research have its academic significance. This paper firstly examined the socio-cultural context of emerging the E.A.T. group as a representative model for convergent practice, and verified the fact that the collaboration between artists and engineers had produced the expansion of artistic expression as well as new relationship among art, engineering, and society by considering E.A.T's various projects. Therefore, I will refer the E.A.T. group as an exemplary model for concrete method of collaboration that contemporary discourses about convergence need.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.3
• /
• pp.192-203
• /
• 2021

This paper investigates the process of change in the meaning of the term gongye (工藝) (nowadays it means craft) during Korea's transition to the modern era. The Annals of the Joseon Dynasty (朝鮮王朝實錄) will serve as the basis for the examination of pre-modern usage, and the Korea-United States Treaty of 1882 for the changes that occurred between the translation from Chinese and from Japanese following the opening of the port . After the port opened, the meaning of gongye, which once broadly referred to the wide range of work of people from different fields, was narrowed down to singularly represent the manufacturing industry. Following the example of Japan, the first East Asian country to succeed in modernization, this new meaning of gongye was generally used in the context of embracing Western culture and creating industry. As industrialization emerged as a national mission, and new terminology was needed to express these new concepts, the Chinese characters used by the Japanese to translate Western concepts were directly imported and used without making any changes. Gongye was similar in meaning to gongeop (工業) (nowadays it means industry) at the time, and the two terms were used interchangeably. However, following the Japanese annexation of Korea, the cultural administration of the Governor-General imbued the term with artistic concepts, and gongye was differentiated from gongeop, As such, examining the establishment of terminology and concepts can be helpful for understanding the contradictions and problems of the Korean crafts scene, which were derived from a period in the past called the modern era.

• Korean Association of Arts Management
• /
• no.58
• /
• pp.205-239
• /
• 2021

This study explores the importance of semantic web-based network construction in art data archiving, as well as its meaning and value in the context of arts management along with its potential for future application. The study focuses on oral history obtained from the Arko Arts Archives that contained records of the lives and artistic views of early artists. In this study, the possibility of applying semantic web-based technology to materials concerning culture and the arts was discussed in five aspects based on the results of the case analysis. First, checking the relationship and discovering hidden artists are possible by revealing relationships between characters. Second, understanding and studying society and culture at a given time is possible by interpreting the contextual meaning of information. Third, art exploration can be done broadly and deeply, encompassing various genres from the perspective of the consumer. Fourth, through art construction, history can be reconstructed using a new and rich method. Fifth, expanding the scope beyond the boundaries of art is possible through convergence and collaboration of programs that handle big data. The network data can be used in various methods, such as art history research, art planning, and creation, throughout the art ecosystem. The results of the study suggest that digitizing a large quantity of data concerning culture and the arts is meaningful in arts management as well as identifying and analyzing the relationship network among data clusters using semantic web-based technology.

• Korean Association of Arts Management
• /
• no.59
• /
• pp.5-31
• /
• 2021

The purpose of this study is to analyze social perceptions and discourses about creating arts in the era of artificial intelligence with making an implication of responding to the emergence of artificial intelligence. We conceptually understand the principles and limitations of creating visual arts using artificial intelligence whilst this paper addresses ai art in the social context by borrowing the theoretical lens from the sociology of arts. This article considers 472 newspapers about artificial intelligence art as the main data, which are interpreted through semantic network analysis. The analysis of this research shows that it is a controversial issue regarding who/which creates the artworks between humans and computers. However, judging from the dominant influence of a group of words representing the recognition of intellectual property rights, we have detected that social awareness is formed around the perspective of considering artificial intelligence creates visual arts rather than artists. In addition, based on the close relationship between the cluster and the cluster reflecting institutional support, we confirm that the discourse about artificial intelligence art is limited to technological development and legal system maintenance. Thus, this study suggests the need for defining artificial intelligence as the medium of art and constructing policy discourses on artificial intelligence art as an artistic genre.

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

• The Journal of Art Theory & Practice
• /
• no.14
• /
• pp.125-158
• /
• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• (The) Korean Journal of Educational Psychology
• /
• v.31 no.4
• /
• pp.767-794
• /
• 2017

Creativity is a social byproduct formed in a specific sociocultural context. Although creativity differs according to the level of culture ranging from supranational, national, professional to organizational levels, research studies documented in literature have mainly dealt with creativity in the (super)national level. For example, differences in personal creativity in the East and the West led by collectivism and individualism, respectively have been dominating in the studies about cultural differences in creativity. Consequently, the domain specificity of creativity and the effects of a more micro level of culture, such as domains, occupations, and organizations, on creative outcomes have been dismissed. Understanding the characteristics of domains, and sociocultural and environmental factors leading to creative products is worth investigating considering that the conception of creativity today highly relies on the nature of domains valued in a certain sociocultural environment. This study reviewed a wide range of literature regarding creativity and sociocultural and environmental factors in order to explore how culture and/or cultural factors inspired creative thinking and generating ideas for creative performance and products. Cultural factors were identified either as a value or a practice (custom) and examined on the supernational, national, professional, and organizational levels. For supernational and national cultures, issues on individualism, collectivism, artistic social atmosphere, and multi-cultural experiences were discussed, while the professional and organizational cultures delved topics on the domain of architecture in which both originality and functionality are greatly valued for creativity. The authors concluded that the impact of culture on creative thinking and idea generation varied according to the levels of culture although issues on multifactorial aspects of culture, differences between personal and collective creativity, and the identification of culture either as a value or a practice (custom) should be discussed further for future studies.

• (The) Research of the performance art and culture
• /
• no.40
• /
• pp.193-222
• /
• 2020

In this study, the development of traditional contents is to be enabled to succeed the values of the heritage on the song sang during dry-field farming of Bongpyeong Memil-dorikkaejil-sori. In addition, the identity on the heritage of songs sang during farming were diagnosed, and their value in context with the history and the value as the community for succession are emphasized as the value of cultural asset to expand the discussion up to the level of traditional cultural industry works. In the Bongpyeong Memil-dorikkaejil-sori, the intrinsic artistic value, the excellence of value as the educational experience, factor for overcoming the extinction of farming songs, and the promotion direction of the storytelling on buckwheat were provided. This is breaking from the formalization and being old-fashioned on the Bongpyeong Memil-dorikkaejil-sori to focus on the symbolization of the agricultural heritage in the modern context, habituating and spreading the gene of slash-and-burn field (hwajeon or budaeki). In terms of methodology on awareness, historicity or creativity, alternative method on the folk songs in labor was provided by having critical mind on the Bongpyeong Memil-dorikkaejil-sori and buckwheat songs. By reviewing the field contextualization of designating the intangible cultural asset, suggestions were made on activating the succession, and even the method of symbolic registration on the heritage of buckwheat farming was mentioned. Heritage on agricultural culture that can represent Pyeongchang and Gangwon must be discovered to be made into a brand. In addition, the uniqueness in the Madang 'Song Madaengi Traditional Music' must be found to apply as the brand on the point in which the people around the world can have consensus for utilization. As the farming song, rediscovery of the Bongpyeong Memil-dorikkaejil-sori is required to create the sustainable status as the multi-purpose cultural contents and provide the network of professionals for activating the folk songs to enable the opportunity of qualitative substantiality and spread instead of quantitative growth. In addition, festivals for each region, especially the festival for Pyeongchang area must be utilized centrally on the development of farming songs to organize the storytelling actively.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.361-392
• /
• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• Journal of The Korean Association For Science Education
• /
• v.34 no.2
• /
• pp.63-78
• /
• 2014

Integrative STEM education is an engineering design-based learning approach that purposefully integrates the content and process of STEM disciplines and can extend its concept to integration with other school subjects. This study was part of fundamental research to develop an integrative STEM education program based on the science inquiry process. The specific objectives of this study were to review relevant literature related to STEM education, analyze the key elements and value of STEM education, develop an integrative STEM education model based on the science inquiry process, and suggest an exemplary program. This study conducted a systematic literature review to confirm key elements for integrative STEM education and finally constructed the integrative STEM education model through analyzing key inquiry processes extracted from prior studies. This model turned out to be valid because the average CVR value obtained from expert group was 0.78. The integrative STEM education model based on the science inquiry process consisted of two perspectives of the content and inquiry process. The content can contain science, technology, engineering, and liberal arts/artistic topics that students can learn in a real world context/problem. Also, the inquiry process is a problem-solving process that contains design and construction and is based on the science inquiry. It could integrate the technological/engineering problem solving process and/or mathematical problem solving process. Students can improve their interest in STEM subjects by analyzing real world problems, designing possible solutions, and implementing the best design as well as acquire knowledge, inquiry methods, and skills systematically. In addition, the developed programs could be utilized in schools to enhance students' understanding of STEM disciplines and interest in mathematics and science. The programs could be used as a basis for fostering convergence literacy and cultivating integrated and design-based problem-solving ability.