• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.261-266
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• 2020

As pioneers of the early video art, Steina Vasulka(1940-) and Woody Vasulka(1937-2019) had lead not only their own experimental arts, but also entire changes of contemporary avant-garde performance, music, and visual art. Two artists invented and developed electronic machines for video image-processing by collaborating with engineers, and performed creative experiment on transformation of digital image. For them, video art is not just a means of documentation. The Vasulkas' artistic practices were not bounded by conventional canons and rules in art world, and preferably were parts of active aesthetic strategies for coexistence of vision of human and vision of machine. Particularly, their video art recognized the video as the key medium in an era where media technology began to dominate the system of communication, and established artist's authority over manipulation of moving image electronically without depending on video camera. In that regard, we can value on their video art. Therefore, the paper reflects on the Vasulkas' art and life which have not yet been studied, and suggests academic interests in the context of their artistic activities and aesthetic strategies.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.615-624
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• 2020

By enabling musicians to freely control the elements involved in sound production and tone generation with a variety of timbre, synthesizers have revolutionized and permanently changed music since the 1960s. Paik-Abe Video Synthesizer, a masterpiece of video art maestro Nam June Paik, is a prominent example of re-interpretation of this new musical instrument in the realm of video and audio. This article examines Paik-Abe Video Synthesizer as an innovative instrument to play videos from the perspective of audiovisual art, and establishes its aesthetic value and significance through both artistic and technical analysis. The instrument, which embodied the concept of image sampling and real-time interactive video as an image-based multi-channel music production tool, contributed to establishing a new relationship between sound and image within the realm of audiovisual art. The fact that his video synthesizer not only adds image to sound, but also presents a complete fusion of image and sound as an image instrument with musical characteristics, becomes highly meaningful in this age of synesthesia.

• Journal of Korea Multimedia Society
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• v.10 no.12
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• pp.1687-1697
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• 2007

Paik Nam-June is known as a Video Artist. Video is a presentation tool with the feature of recordability. However, it is not only a video which has been applied as an art presentation tool by him. Nevertheless, the existing researches fail to notice the aesthetic concept which is shown as the rest contents or forms, as they focus on the media features of Paik Nam-June's video. Therefore, this article aims at contemplating the art world of Paik Nam-June with its contents as 'visualization of music' and its form as 'hypermediacy' Therefore, 1. Sound is shown as the visualization of music, with the direct influence of absolute hollowness and noise of John Cage, originated from Zen Buddhism, while the foundation of it is known to be from the liberation of dissonance of Arnold Schoenberg and creative impromptu of shamanic sound. 2. The from of TVs influence of the orchestra, originated from Culture of a dining table in Korean. and indicated hypermediacy 3. Paik Nam-June indicated 'Text-interpretation' us to text analytics of 'how to read', rather than the question of 'what to tell' by intermedia as the visualization of music & hypermediacy.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.196-206
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• 2011

The development of projection technology produces series of discussions associated to various form of visual immersing possibilities by the way of projecting image directly to the obscure surface surrounded us. Besides, the significance can be found in terms of that this kind of image projection offers chance to citizens to enjoy high standard images and makes people consider media environment of city. Video art as the digital technology grafts penetrates formative space of city by projecting images. The certain thing about questions how the media has status in city is that media is now not existing for self neither for abstractly and virtual reality is existing in the general appearance of metropolis. This paper treats media environment of city and the meaning of image projection as from of video art in the city. It accesses about the meaning of video form visual art in big city- new reality, the virtual and the real, immersion and interactivity. And media reality of metropolis defines that there is not one major discourse in the gigantic text -metropolis rather they are different discourses each other simultaneously compatible in the gigantic text -metropolis and in fact, they affect each other and interact.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.115-120
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• 2008

It provides technical analyze and conceptual idea by oneself through Media Art One's feeling expresses multiple video players by using 3 dimensional graphic techniques Multiple video players work in interlocking. Spectators join in clicking mouse on the screen and the working of multiplevideo players realize with computer software. It has a chance, which spectators get a sensitive stimulation. Each player express human's facial expression - happiness, anger, sadness, excitement. Players are able to accelerateaccording to computer system. It seems that artistic messages send through cooperation and connection of multiple players.

• 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.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.215-237
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• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.195-200
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• 2019

Media art, which is a combination of media technology and art, is making a lot of progress in combination with AI, IoT and VR. This paper aims to meet people's needs by creating a video that simulates the dance moves of an object that users admire by using media art that features interactive interactions between users and works. The project proposed a universal image synthesis system that minimizes equipment constraints by utilizing a deep running-based Skeleton estimation system and one of the deep-running neural network structures, rather than a Kinect-based Skeleton image. The results of the experiment showed that the images implemented through the deep learning system were successful in generating the same results as the user did when they actually danced through inference and synthesis of motion that they did not actually behave.

• Journal of Korea Multimedia Society
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• v.10 no.11
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• pp.1507-1515
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• 2007

Many people have already mentioned the works of the Video Art. This is the age, video image is not a particular thing. We should not follow easily those things having been studied by a lot of people again. However, nowadays after he passed away, they voice their opinions that we should reanalyze his works properly. Therefore, it may be not new to make video image a subject of discussion. However, this study intends to look into the works of Paik Nam June once again from a new aspect that no preceding researchers did not pay much attention. It will be the main theme of this study to try to discover the expansion of nature and educational effects through technology by analyzing his works from another aspect as one person who lives in the age that video image is no more special.

• Journal of Service Research and Studies
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• v.13 no.1
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• pp.108-126
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• 2023

This study explored the sustainability of a blockchain-based cultural art performance video platform through the construction of Gyeonggi Art On, a new media art broadcasting station in Gyeonggi-do. In addition, the technical limitations of video content transaction using block chain, legal and institutional issues, and the protection of personal information and intellectual property rights were reviewed. As for the research method, participatory observation methods such as in-depth interviews with developers and operators and participation in meetings were conducted. The researcher participated in and observed the entire development process, including designing and developing blockchain nodes, smart contracts, APIs, UI/UX, and testing interworking between blockchain and content distribution services. Research Question 1: The results of the study on 'Which technology model is suitable for a blockchain-based performance video content distribution public platform?' are as follows. 1) The blockchain type suitable for the public platform for distribution of art performance video contents based on the blockchain is the private type that can be intervened only when the blockchain manager directly invites it. 2) In public platforms such as Gyeonggi ArtOn, among the copyright management model, which is an art based on NFT issuance, and the BC token and cloud-based content distribution model, the model that provides content to external demand organizations through API and uses K-token for fee settlement is suitable. 3) For public platform initial services such as Gyeonggi ArtOn, a closed blockchain that provides services only to users who have been granted the right to use content is suitable. Research question 2: What legal and institutional problems should be reviewed when operating a blockchain-based performance video distribution public platform? The results of the study are as follows. 1) Blockchain-based smart contracts have a party eligibility problem due to the nature of blockchain technology in which the identities of transaction parties may not be revealed. 2) When a security incident occurs in the block chain, it is difficult to recover the loss because it is unclear how to compensate or remedy the user's loss. 3) The concept of default cannot be applied to smart contracts, and even if the obligations under the smart contract have already been fulfilled, the possibility of incomplete performance must be reviewed.