• Korean Association of Arts Management
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• no.57
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• pp.33-58
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• 2021

The purpose of this study is to understand the impact of the subscription economy on the contemporary art market in terms of creation, consumption and distribution of artwork. To accomplish the aim of this study, we conducted a case study of Artnomic Gallery K borrowing the theoretical perspective from Alexander(2003)'s Modified Cultural Diamond model. In this paper, we collected data through reviewing the secondary document and conducting in-depth interviews with 10 experts and consumers in the art market. As a result, the subscription economy eases the traditional art trade, which is heavily focused on a small number of market arts, by encouraging artists to create various works. The transition to subscription in the purchase of art contributes to lowering the barriers to entry into the art market by reducing the financial burden on consumers in terms of consumption. In terms of distribution, this founding of this article shows that the experts of Gallery K are the main actors in selecting the works that consumers subscribe to. Therefore, in this study, it is of academic significance to discuss that the filtering effect of the distribution system emphasized by Alexander(2003) is effective even in the art trading system to which a new form of economic activity - the subscription economy - is applied.

• Korean Association of Arts Management
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• no.58
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• pp.179-204
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• 2021

Not only the consumption trend after the COVID-19 pandemic but also low financial interest rates have stimulated people to invest artworks. With the recent noticeable growth, art investments that mainly conducted by younger generation through online platform can be characterized by a fractional ownership in art market which means several people share one piece of artwork. This study explores 4 fractional ownership platforms in the domestic art market including Art Together, Art & Guide, Tessa, and Pica projects, using a business model canvas that describes nine key elements: Customer Segments, Value Proposition, Channels, Customer Relationships, Revenue Streams, Key Resources, Key Activities, Key Partners and Cost Structure. The four cases have similar business models, but the details of revenue streams are different. The key sources of revenue are the profit and commission of the work. Thus, maximizing the profit margin of artworks is the core of revenue streams, so selecting and purchasing highly profitable artworks are significant. Based on the analysis, there are 3 suggestions to continue fractional ownership platform businesses in art market successfully. First, it is required to have a long-term perspective on art investments, as a way to diverse asset portfolio. Second, business confidence should be increased to maintain customer loyalty. Third, the role of platforms as competent experts is important.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.777-786
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• 2023

Generative AI systems are expected to be more widely utilized. However, relatively little attention has been paid to understanding how users perceive and accept generative AI results. To identify strategies for increasing the future use of generative AI and prepare for potential issues, we organized design workshop for the general user group and the designer group. They created artwork utilizing Novel AI and semi-structured interview was followed to evaluate their attitudes toward generative AI and its copyright. Results indicate that the general public views generative AI positively, while the design-related group views it quite negatively. The participants expressed concerns as to the misuse the system, specifically related to copyright issues. People who are likely to utilize generative AI outcomes have insisted more strongly that copyrights should be their own. Those working in the design field highly evaluated the possibility of using generative AI in their work. Copyright perceptions were not significantly influenced by users' satisfaction or their level of involvement in the creation process. We discuss design implications for interfaces using generative AI based on the findings.

• Journal of the Korean Applied Science and Technology
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• v.41 no.2
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• pp.338-348
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• 2024

Airbrushes are being utilized in various industries due to their practicality and ability to express a wide range of designs. Especially in the field of body painting, they have become an essential tool for artists. Airbrushes enable precise color application, shaping, and gradient expression, thereby reducing work time, which has led to their increasing use in the field of body painting. This study aims to present the latest design trends in airbrush body painting by analyzing the design composition, color planning, blending, and expression techniques, focusing on award-winning works in the airbrush-exclusive category of internationally recognized World Bodypainting Festivals. The results are as follows. Firstly, in terms of design composition, emphasis and balance principles are primarily used. The main image is emphasized at the center of the upper body, while a balanced composition with left-right symmetry is observed in the lower body. Secondly, color planning and blending primarily utilize contrasting colors to enhance visibility. Thirdly, all major award-winning works utilize stencil and gradient techniques to accurately depict shapes and add dimension. Based on these analyses, body painting designs were planned and executed using airbrushes. Through such artwork production, the artistic utilization of airbrush body painting is aimed to be popularized, contributing to domestic research in the field of airbrush body painting.

• Smart Media Journal
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• v.13 no.1
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• pp.86-100
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• 2024

Recently, a number of virtual reality exhibition-type content services have been produced using archive resources of visual art records as a means of promoting cultural policy-based public companies. However, it is by no means easy to accumulate 3D works of art as data. Looking at the current state of metadata in public institutions, there was no digitalization of resources when developing digital twins because it was built based on old international standards. It was found that data modeling evolution is inevitable to connect multidimensional data at a capacity and speed that exceeds the functions of existing systems. Therefore, the elements and concepts of data modeling design were first considered among previous studies. When developing virtual reality content, when it is designed for the migration of 3D modeling data, the previously created metadata was analyzed to improve the upper elements that must be added to 3D modeling. Furthermore, this study demonstrated the possibility by directly implementing the process of using newly created metadata in virtual reality content in accordance with the data modeling process. If this study is gradually developed in the future, metadata-based data modeling can become more meaningful in the use of public data than it is today.

• Conservation Science in Museum
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• v.13
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• pp.23-31
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• 2012

The object artifacts of this study are the iron artifacts owned by the Kyunghee University Central Museum. The surfaces of the iron artifacts are opaque due to the coated materials which are presumed to be paraffin or bee's wax while they are plate-shaped and exist in thickly exfoliated condition caused by severe corrosion developed on the overall surfaces. Therefore, in order to remove the coated materials away from the surfaces of the artifacts rather safely, reversibility tests have been carried out and the conservation treatment was performed upon the basis of and in application of the experimental results. The study methodologies are that: first, the FT-IR analysis was carried out to determine the ingredients of the coating-treated material on the surface; second, by applying various kinds of organic solvents, the kinds of agents that allow the artifact's surface-coating material to be reversible have been identified through experiments; third, the most suitable agent for removing coating material was selected and applied to the real artifacts on the basis of the results of the reversibility tests. Results from the study: first, as a result of the FT-IR analysis, the coating agent used on the artifacts was identified to be of the same ingredients as those of paraffin; second, among organic solvents, xylene, toluene, trichloroethylene and methyl alcohol were identified to be usable for dissolving paraffin whereas toluene was judged to be the most suitable for removing the coating agent; third, when applying the selected agents on the real artifacts, due to the fact that removing the whole paraffin might cause the artifact to disintegrate, the paraffin of only the part that covered the surfaces opaquely was removed using cotton swab or gauze, thus completing the conservation treatment.

• Journal of Christian Education in Korea
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• v.62
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• pp.313-334
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• 2020

As an element of education, the educational space cannot be separated from the purpose of education. The place of education is not only the passage to deliver actual curriculum, but also the purpose itself that can be accomplished through educational content. That is because the purpose of education cannot be achieved only with instructors, students, curriculum, and methods, but requires a change in the perception of the educational space that represents the goal and the place where it all can be implemented. Nevertheless, the problem that lies with educational space is easy to be overlooked and it has been rather considered as an issue related to the finances or scale of the church. The church educational space gives birth to faith and growth, where spiritual development and experience may occur. However, the reality follows the drawbacks of conventional school classroom arrangements and structures. In addition, even if the church educational space can be arranged according to the needs of its students, it cannot deviate much from the standard uniform format. In particular, the basic environment of church educational space is similar to that of standard school system in terms of arrangement of furniture such as chairs, desks, and its physical structure. As the school system was originally designed and tailored for the purpose of delivering knowledge and standardization, the space for church education must stay away from it. Humans are born and die in a space, where encounter with God also happens. Also, communication with God causes spacial conversion to humans, changing the place of their visitation. So the church educational space must be more meticulously designed and comprehensive than that of school which pursues physical, educational, psychological, social, and artistic purposes because the church educational space pursues the liturgical elements, as well. Therefore, the Christian learning environmental arrangements must seek liturgical elements, which is the major Christian value, by placing Christian artwork or symbols for church visitors. So in this research, I want to stress the role of Christian educational space for spiritual growth and pursue intrinsic and extrinsic changes in learning environment, leading to a greater awareness of the Christian educational space.

• KIPS Transactions on Software and Data Engineering
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• v.5 no.9
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• pp.441-450
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• 2016

In this study, we investigate the effect of the level of cognitive affordance which explains an explicit interaction method on the interest of viewers. Viewer's recognition of the interaction method is associated with cognitive affordance as a matter of visual-perceptual exposure of the input device and viewer's cognition of it. The final goal of the research on affordance is to enhance the audience participation rather than the smooth interation. Many interactive media artworks have been designed with hiding the explicit explanation to the artwork due to worry that the explicit explanation may also hinder the induction of impressions leading the viewer to an aesthetic experience and the retainment of interest. In this context, we set up two hypotheses for study on cognitive affordance. First, the more explicit the explanation of interaction method is, the higher the viewer' understanding of interaction method is. Second, the more explicit the explanation of interaction method is, the lower the interest of the viewer is. An interactive media art work was manufactured with three versions which vary in the degree of visual-perceptual information suggestion and we analyzed the participation and interest level of audience in each version. As a result of the experiments, the version with high explicitness of interaction was found to have long time spent on watching and high participation and interest of viewers. On the contrary, the version with an unexplicit interaction method was found to have low interest and satisfaction of viewers. Therefore, regarding usability, the hypothesis that a more explicit explanation of interaction would lower the curiosity and interest in exploration of the viewer was dismissed. It was confirmed that improvement of cognitive affordance raised the interaction of the work of art and interest of the viewer in the proposed interactive content. This study implies that interactive media art work should be designed in view of that the interaction and interest of audience can be lowered when cognitive affordance is low.

• Cartoon and Animation Studies
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• s.39
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• pp.59-83
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• 2015

Magical realism, blooming and improving in Latin America, opened the new vision about reality and rationalism, coming out from the out-styled frame of past. While having common points with unrealistic literature, which uses fantastical components, magical realism is different from Surrealism and fantasy literature that is focusing on reality and realizing reality intensely. In the early stage of this research, magical realism was restricted by the characteristics of literature of Latin America, but the research of magical realism is expanding in planning Post-Modernism nowadays. Lately, the influence of magical realism is identified in literatures, arts, films, and animations over the world; according to the research, however, research about magical realism in animations was not done in Korea before. A Korean independent animation "A coffee vending machine and its sword" was evaluated positively in many international film festivals is valuable as the research of magical realism. Throughout this study, this animation "A coffee vending machine and its sword" was analyzed by its narrative and images. The analysis of narrative consists two parts. One is about the form of narrative and the other is about contents through the story. Analysis of Image is also divided into two parts: background image and character image. In this animation, the protagonist is narrating about the fantastic accidents in his life and his own feelings towards it. The narration leads audience to understand his situation and feelings in meta-fiction. On the surface, audience watches the love story of a normal girl and coffee vending machine in this artwork, but deep inside the animation, it is visible that the directors tried to make audiences think about the life of 880,000-won Generation in Korea. The background image was represented as real places in Seoul including the landmark of Seoul, making mimesis of reality in Korea. The character image has two conflicting aspects with reincarnated warrior, Jinyoungyoung and a coffee vending machine. It is a hybrid-character transmogrifying between two characters. Likewise, "A coffee vending machine and its sword" has the characteristics of Korean magical realism through form, content and image. Through analyzing the Korean independent animation "A coffee vending machine and its sword", this research tried to find a way of using factors of fantasy, of representing reality as a dramatic device and of using magical realism of Korean animation for bond of sympathy with audience.

• Journal of Korean Philosophical Society
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• no.117
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• pp.139-167
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• 2017

This essay attempts to reveal how taste spontaneously cultivates and why it is necessary for cultivating taste to edify our personality and to develop culture. It is a key of the solution of the problems that taste always reflects its judgment through pleasure. Because the grounds of the universal validity of the judgment of taste are found, whenever taste tests the validity of its own judgment, the so-called 'delight of discovery' makes taste cultivate itself. For having the moral personality, we need to practice spontaneously the morality of our own behaviour and for judging whether an artwork to represent the period is succeeded or not, we need to have a high insight to select the cultural heritage. But the autonomous thinking can delightfully be made a habit, judging the beauty of artworks. In the main body of this essay, it is determined from the three examples of the negative judgment of taste which Kant suggested in deduction. According to Kant, the negative judgment of taste means that the beautiful work is displeased, but what it asserts is that taste is cultivated. I formalize the methods of reflection of taste revealed in three negative judgments of taste into'resisting', 'indicating of error', 'self-retracting'.(Chapter 2) And from this, I emphasize the necessity to cultivate taste in the way that these methods of the cultivation of taste can affect building our personality by stimulating our reason to have interest in moral(Chapter 3) and in the way that taste directly judges the product of cultural succession.(Chapter 4) In the end of last chapter, I examine further essentially the method of the reflection of taste, to inquire into how to enable it.(Chapter 5) Especially, I try to illuminate its grounds through Schiller's concept of the "impulse of amusement(Spieltrib)", because his explanation helps us to understand the dynamics of taste's delight of discovery. Although the abilities of mind conflict with each other, taste has the characters that it reflects to encourage them for each other and that it is vitalized by its own activity. We, as it were, can pleasantly handle two tasks, because taste makes the impulse of amusement from conflictive impulses in mind. In conclusion, I state that we have to experience directly the impulse of amusement like creative artist, because it is maximized from creation.