• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.646-657
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• 2019

It has been 20 years since the cultural contents were newly emerged in the late 1990s and grown in our society. However, efforts to establish culture contents concept and to establish cultural contents as a separate discipline are relatively poor. There may be various reasons, but the most important thing is that it failed to cover the broad sense of the word 'cultural contents' and to present a key concept through the core. Therefore, this study examined the possibility of securing the conceptual resources necessary to lay the foundation for cultural contents within play, under the premise that cultural contents should be play studies in the 21st century. In order to do this, this paper examined the meaning of play in each of the three conceptual categories, ie, mimesis, aesthetics, and power, which are deemed to be related to the meaning of cultural contents that we currently use. As a result, it has been confirmed that play is used in various ways in connection with various concepts such as emotion, art, percept, cognition, education, coincidence, power, hegemony, class, religion, ritual. These various uses of play concept can give cultural contents researchers an opportunity to study cultural contents from a play perspective.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• Journal of Science of Art and Design
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• v.1
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• pp.267-303
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• 1999

The visual humor can be regarded as an original source for creative ideation. There are several types of humor. for example,'wit, satire, irony and so on. These can be motivations of developing an up-to-date idea. Wit differs from most humor in being purely intellectual, rather than relying on incongruities that come up naturally in many situations. The humor of words contains pun, hyperbole, repetition, and comparison or contrast. Especially in case of pun, it can be most important type of humor for making analytical and humorous effects visually. Pun, meaning the humor of double meaning, furnish us with much of our humor. The concept of pun is the most valuable for creating the visual humor by substituting, combining and manipulating symbols. There are essentially three distinct categories of puns : the literal pun, the suggestive pun, and the comparative pun. All types of puns belong to one of these three groups. The definitions are simple to understand and easy to apply for creating the visual humor, In order to develop a better conceptual model, (this researcher) reexamine the concept of humor, the relationship of humor to various types of message processing, and the relationship of humor to various aspects of message. This thesis. is primarily concerned with basic theories of humor such as concepts of humor, types of humor and analysis of humor. And this contains the research of humor's communications effects and theory of humor response with literature reviews. Modem theories of humor response generally fall into three major schools : Incongruity theories, Superiority theories and Arousal (Relief theories. Together these three approaches address the cognitive-perceptual, affective-evaluative and psycho-dynamic dimensions of a subject's humor response. The literature research of humor and humor response theory in communications and visual communications can help the visual application of humor concepts and usefulness of visual humor appeals. This research agreed that the humor and visual humor must be very effective at being as a means for the advertising expression, not for the purpose itself. In addition, this research is aimed at studying significations and usefulness of visual humor through semiotic approaches in the near future. Then it can be essencial research for the appropriate situational uses of humor related to media, product, and audience factors, such as nationality, age, standard of living, sexuality, and so on.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.119-130
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• 2013

This paper researches the algorithm, whose materiality and expressiveness can be obtained through live coding. Live coding is an improvised genre of music that generates sounds while writing code in real time and projecting it onto a screen. Previous studies of live coding have focused on the development environment to support live coding performance effectively. However, this study examines the aesthetic attitude immanent in the realization of the algorithm through analyzing mostly used languages such as ChucK, Impromtu, and the visualization of live code and cases of "aa-cell" and "slub" performance. The aesthetic attitudes of live coding performance can be divided into algebraic and geometric attitudes. Algebraic attitudes underline the temporal development of concepts; geometric attitudes highlight the materialization of the spatial structure of concepts through image schemas. Such a difference echoes the tension between conception and materiality, which appears in both conceptual and concrete poetry. The linguistic question of whether conception or materiality is more greatly emphasized defines the expressiveness of the algorithm.

• Journal of the Korean Society for information Management
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• v.20 no.3
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• pp.155-175
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• 2003

The purpose of the study was to construct a system based on the semantic web environment's ontology by utilizing the ontology schema derived from the facet-type Art and Architecture Thesaurus(AAT). The aforementioned ontology schema is based on the Web Ontology Language(OWL), which is being widely considered the standard ontology language for the W3C-centered semantic web environment. Also, the concepts were limited to terms within AAT'S Furniture Facet, and the system was tested using the Chair concept, which is a lower-level facet that has a diverse conceptual relationship and broad vocabulary base. The ontology system is capable of searching for concepts, while controlling the search results by always providing a 'Preferred term' for synonymous terms. In addition, the system provides the user with first, a relationship between the terms centered around the inquiry, and second, related terms along with their classification properties. Also, the system is presented as and application example of the ontology system that constructs a information system that intakes an Instance value and reproduces it into a RDF file. During this process, utilization of multiple ontologies was introduced, and the stored Instance value's meta-data elements were used.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.77-93
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• 2009

The purpose of this study is to analyze on the fashion collection of Hussein Chalayan who has changed the concept of fashion design in the 21st century and has pioneered in the new vision of fashion. This study will give a new perspective and perception of fashion as a conceptual and ideological art. The conclusions of this study are as follows. First, Hussein Chalayan's multicultural ideas and interdisciplinary approaches which based in national speciality are the unique elements in his works. Second, Hussein Chalayan intends to present his works as an expression of conception. He has expressed the clothes which speaks the form of nature, symbolizes the combination of culture, visualizes time and space and investigates the existence of human being. Third, Hussein Chalayan has asked an endless question about existence of the human being. Furthermore, He has put a question about the relationship between time, space, history, nature and the human being. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works of art makes him as the designer who represents the 21st century. Forth, Hussein Chalayan pursues the communication between the human being and the world. His works is made for human being and makes the human life as valuable thing. Because the clothes is completed when the human wears it, it can not exist without the relationship of human being. Fifth, Hussein Chalayan makes a various attempt to combine with different artistic field. Fashion has developed to new direction with diverse trial and combination beyond fashion field and this has to be a direction in the 21st century fashion. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• The Journal of the Korea Contents Association
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• v.6 no.1
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• pp.85-92
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• 2006

It seems extremely incongruous that genocide, crimes against humanity and war crimes could ever be justified or excused by 'defensive force'- self-defence, defence of others and defence of property. Nonetheless, art 31(1)(c) of the Rome Statute of the International Criminal Court codifies defensive force as a ground for excluding criminal responsibility. This provision was controversial and extremely difficult to negotiate at the Rome Conference of 1998, largely due to the conceptual differences that exist in respect of criminal defences between the various domestic legal systems of the world. This paper analyses the drafting history and wording of art 31(1)(c) in order to clarify the precise scope of defensive force under the Rome Statute. It then seeks to ascertain the applicability of the provision to genocide, crimes against humanity and war crimes, and to thereby explore the nature of these crimes and the intended prosecutorial strategy of the International Criminal Court.

• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.155-164
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• 2008

Kiosk is an unmanned information system arranged in public places or commercial spaces so that a user may utilize information conveniently. Unlike a personal computer, it targets varied users' brackets, so we have to consider a user's characteristic in designing Kiosk Interface. However, in reality, the Kiosks of public places like subway stations are of Interface Design without considering users and become almost useless with serviceability falling. In this study, we attempt to point out such problems and suggest the concept as to the Interface Design in the public places for a more positive promotion method. For this purpose, we are about to look into the concept of Tangible Interaction and Interspace and the recreation experienced in the process of interaction between a human and a computer and study the sportive Kiosk Interface Design in the Interspace using the principle of the Tangible Interaction. For the conceptual Model in this study, we referred to ARTCOM(ART+COM) Project.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.106-115
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• 2012

This paper focuses on the systematic conceptualization of the 'contents' through the differentiation between the meanings of the work of art and the contents. The 'contents' are referred to as various media products, but they are all the audience-oriented work of art. From the beginning of its birth the film medium turned out to be a kind of contents, which is involved in the specific role of audience. It also implies that the film medium could not exist without the interaction of the media text and audience. In order to understand this context, this paper analyzes the film of Alfred Hitchcock.