• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• The Journal of Art Theory & Practice
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• no.10
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

• Fashion & Textile Research Journal
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• v.7 no.2
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• pp.237-246
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• 2005

In this study, researcher intended to extract the major factors of makeup design from Yangju-beolsandaenori-tal(masks) and Songpa-sandaenori-tal which have been handed down to the present among many kinds of the Korean folk masks, and to apply those factors to the modernization of traditional culture in terms of makeup design. The 17 Sandaenori-tals exhibited at 'The special exhibition of the Korean folk masks' in 1981 by the national folk museum of Korea were selected as the objects of this research. The formational analysis in terms of shape, color and material was conducted. The 5 factors of this analysis are as follows; face and hair, forehead, eye and eyebrows, mouth and nose. The beauty expressed in Sandaenori-tal includes naturalness, eccentricity and good-humor. The human feelings are expressed candidly and simply through naturalness. The eccentricity in Sandaenori-tal overemphasizes the shape of mask unsymmetrically. And it is expressed ghostliy in black, white and red colors. The good-humors in aesthetic viewpoint was expressed in surprised faces and innocent smile. Researcher applies the good humour to the art makeup in strong natural colors and shapes.

• Child Studies in Asia-Pacific Contexts
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• v.6 no.1
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• pp.31-46
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• 2016

This study explored types and characteristics of South Korean crossover picturebooks that are enjoyed across generations. Participants included three publishers, six critics, six illustrators and three picturebook researchers, and focused on 92 South Korean recommended picturebooks published from 1995 to 2014 as the research material for this study. The majority of Korean crossover picturebook type was story, followed by information and art. There were few wordless books. Common themes of the story picturebooks were contemplation, traditional culture, social changes (such as immigration and redevelopment), reminiscence, social relations, loss and death, family problems, and social incidents. Classic essays and novels were revised for picturebooks as were famous poems originally written for grown-ups. Informational books were about traditions in music, architecture, furniture and special occasions like wedding and ceremonies. The style of the drawings were precise and realistic. Some drawings were done by brush and Chinese ink on hanji (traditional Korean paper) or silk. Some books featured Korean calligraphy as well, enabling adult readers to also appreciate the beauty and delicacy of the books. Art books and wordless books were quite rare and exhibited a playful tone. Adults alone were not presumed to be the primary reading audience of the picture books. Implications were made for picturebook marketing in a society such as South Korea, where the elderly population is rapidly increasing. Various forms of art books and parodies were also welcome. One conclusion of the study was that more experimental and innovative works would be encouraging for the development of South Korean crossover picturebooks.

• Journal of Science of Art and Design
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• v.6
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• pp.267-287
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• 2004

The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.415-443
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• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.115-132
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• 2023

The globalization of Korean culture has spurred a steady increase in the participation of domestic fashion designers in global performance art. This study analyzes the formal elements of stage costume designs by fashion designers, and further evaluates the impact of these designers' aesthetic philosophies on overall performance. This analysis seeks to provide a foundation for the development of new directionality in performance art, with an enhanced competitiveness derived from diversity and creativity. The scope of this research spans 15 performances and eight fashion designers' works in the post-2010s era. These performances are characterized by their break from traditional artistic norms, illustrating the modernization of the performing arts and reflecting the designers' aesthetic philosophies. This modernization incorporates inspirations drawn from a diverse selection of movements, such as fusion, culture clash, kitsch, and minimal avant-garde. As a result, in combination with a pure reflection of the designers' aesthetics, these designs heighten overall performance, suggest a new direction for traditional performance art, tap into a popular sensibility to expand communication to a wider audience, and push the boundaries of tradition through artistic innovation.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.18 no.8
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• pp.2381-2398
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• 2024

The construction of virtual indoor spaces is crucial for the development of metaverses, virtual production, and other 3D content domains. Traditional methods for creating these spaces are often cost-prohibitive and labor-intensive. To address these challenges, we present a pipeline for generating digital twins of real indoor environments from RGB-D camera-scanned data. Our pipeline synergizes space structure estimation, 3D object detection, and the inpainting of missing areas, utilizing deep learning technologies to automate the creation process. Specifically, we apply deep learning models for object recognition and area inpainting, significantly enhancing the accuracy and efficiency of virtual space construction. Our approach minimizes manual labor and reduces costs, paving the way for the creation of metaverse spaces that closely mimic real-world environments. Experimental results demonstrate the effectiveness of our deep learning applications in overcoming traditional obstacles in digital twin creation, offering high-fidelity digital replicas of indoor spaces. This advancement opens for immersive and realistic virtual content creation, showcasing the potential of deep learning in the field of virtual space construction.

• Journal of Information Technology Applications and Management
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• v.30 no.4
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• pp.11-28
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• 2023

This paper proposes a method of integrating ChatGPT with traditional chatbot systems to enhance conversational artificial intelligence(AI) and create more efficient conversational systems. Traditional chatbot systems are primarily based on classification models and are limited to intent classification and simple response generation. In contrast, ChatGPT is a state-of-the-art AI technology for natural language generation, which can generate more natural and fluent conversations. In this paper, we analyze the business service areas that can be integrated with ChatGPT and traditional chatbots, and present methods for conducting conversational scenarios through case studies of service types. Additionally, we suggest ways to integrate ChatGPT with traditional chatbot systems for intent recognition, conversation flow control, and response generation. We provide a practical implementation example of how to integrate ChatGPT with traditional chatbots, making it easier to understand and build integration methods and actively utilize ChatGPT with existing chatbots.