• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.317-318
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• 2014

그림자극은 중국의 오래된 민간 전통 공연 예술이며 초기 중국영화에서 많이 이용했다. 지금 시대에 3D 및 입체 영화를 위주로 하는 추세에서 2D형식의 표현 기법인 그림자극은 어떻게 변화해야 할 것이고 고유의 특성을 발전시킬 것인가? 먼저 그림자극은 비주류 애니메이션 형식으로서 표현의 한계를 가지고 있으므로, 이러한 평면적 예술 기법을 사용하는 영화의 표현형식 및 표현 내용을 고려해야 한다. 둘째 이런 예술 표현기법의 특성과 현대 컴퓨터기술을 서로 결합한 것은 그림자극을 계승 발전시킬 수 있는 요소이다.

• Journal of Gifted/Talented Education
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• v.11 no.3
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• pp.203-220
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• 2001

The purpose of this study is to propose the direction for identification of artistically gifted children by considering the methods of it as a part of the basic study for artistically gifted children education. The result of study on the identification of artistically gifted children in literature, the identification methods are classified into the formal standardized art test, the informal test, and non-test measure. And they are considered and discussed laying importance on their characteristics and problems.

• 한국조형예술학회:학술대회논문집
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• 2005.11a
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• pp.5-27
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• 2005

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.88-101
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• 2018

The collective narratives on global crisis such as the displaced, uneven distribution of resources, invasion of human rights is more than a recurring theme or polemics in the fields of contemporary arts. In the latest projects from Olafur Eliasson, Rirkrit Tiravanija and Ai WeiWei, art works are presented as performative 'platforms' for tackling these undiscriminating reality of human conditions. Here, 'the users' as driving forces of possible change, are postulated as prospective actors/players who lead and collaborate to defy the status-quo. Crossing over the on/off lines, the everyday-activities of exchanging, sharing and networking are strategically deployed and its meaning reconfigured within the context of post/production discourse. This historical, yet unsettling juncture between art and life, dystopian reality and utopian idealism has its formal-conceptual links to Russian Constructivism, Brechtian Learning-Play and Joseph Beuys' Social Sculpture. Based on Nicolas Bourriaud's notion of Postproduction, this paper aims to provide a diachronic analysis on collaborative dispositions of participatory arts practices.

• Journal of Korean Philosophical Society
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• v.130
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• pp.277-304
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• 2014

Der vorliegende Beitrag zielt darauft ab, zwei Perspektiven $f{\ddot{u}}r$ die Kunst bei Kant und Nietzsche und ihre Schlussfolgerungen zu $er{\ddot{o}}rtern$. Kants Kritik der Urteilskraft hat eine enorme Rolle in der Geschichte der ${\ddot{A}}sthetik$ gespielt. $F{\ddot{u}}r$ Kant sollen ${\ddot{a}}sthetische$ Urteile ebenso wie Erkenntnis- und Moralurteile $allgemeing{\ddot{u}}ltig$ sein, obwohl sie auf einem $pers{\ddot{o}}nlichen$ Geschmack beruhen. Die $Allgemeing{\ddot{u}}ltigkeit$ des $Sch{\ddot{o}}nen$ sei $m{\ddot{o}}glich$, weil sie nicht auf dem Gegenstand, sondern auf dem transzendentalen Subjekt basiere. Die $sch{\ddot{o}}ne$ Kunst als Kunst des Genies soll uns wie die $Natursch{\ddot{o}}nheit$ ohne Interesse wohlgefallen. Nietzsches Stellungnahme zu Kants ${\ddot{A}}sthetik$ ist sehr kritisch. Nietzsches erster Kritikpunkt richtet sich gegen das 'interesselose Wohlgefallen'. Gegen Kant behauptet Nietzsche, dass die $Sch{\ddot{o}}nheit$ sehr wohl mit Interesse verbunden ist. Grund $daf{\ddot{u}}r$ ist, dass das $Sch{\ddot{o}}ne$ wesentlich aus dem Willen zur Macht entspringt. Der zweite Kritikpunk Nietzsches liegt darin, dass in Kants ${\ddot{A}}sthetik$ die Moral im Vordergrund steht. Das $Sch{\ddot{o}}ne$ ist $f{\ddot{u}}r$ Kant durch die Moral gerechtfertigt. Nietzsche dreht diese Stellung der Moral zur Kunst um. Der dritte Kritikpunkt Nietzsches ist, dass Kant statt von der Erfahrung des $K{\ddot{u}}nstlers$ (Schaffenden) aus das ${\ddot{a}}sthetische$ Problem zu betrachten, allein vom Zuschauer (Empfangenden) aus ${\ddot{u}}ber$ die Kunst und das $Sch{\ddot{o}}ne$ nachgedacht habe. $F{\ddot{u}}r$ Nietzsche ist die Kunst $prim{\ddot{a}}r$ vom $K{\ddot{u}}nstler$ aus zu verstehen. Nietzsches Physiologie der Kunst ist mit dem Begriff 'Leib' $verkn{\ddot{u}}pft$, d.h. Nietzsche behauptet, dass physiologische und ${\ddot{a}}sthetische$ Prozesse wesentlich $zusammenh{\ddot{a}}ngen$. Die Schlussfolgerung der Physiologie der Kunst lautet: erstens, jeder Mensch ist $K{\ddot{u}}nstler$, sofern er schaffend ist, und zweitens, die Welt selbst ist nichts als Kunst. Nietzsches Physiologie der Kunst hat einen $gro{\ss}en$ Einfluss auf die $gegenw{\ddot{a}}rtige$ Kunst $ausge{\ddot{u}}bt$ und kein anderer Philosoph hat auf die $gegenw{\ddot{a}}rtige$ Kunst nachaltiger gewirkt.

• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.227-234
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• 2022

This study identified the characteristics of surrealistic art and examined the choreography method based on the representative work of choreographer William Forsythe. Forsyth developed into a ground breaking performing art through surrealistic characteristics and his own method, and sought to find a new body image based on this original choreographic approach. Through this, it was found that the destruction and dismantling of forms, which are surrealistic art characteristics, appeared as separate movements, space reconstruction, and special objects in the choreography method of Forsythe. Therefore, the purpose of this paper is to investigate the characteristics and forms of surrealism and to identify the surrealistic elements that appear in William Forsythe's.

• Journal of Digital Contents Society
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• v.14 no.4
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• pp.493-503
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• 2013

Through everyday life to an art work creation, the computer technology is using intimately and infiltrated deeply in the digital era. Particularly dissemination and miniaturization of the computer cause remarkable development of computer and mobile game industry. Its popularity in general is reaching to the art field. This study contemplate the aesthetic changes and characteristics in game and dance convergence investigating the concept of art game and dance game as a new art form.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.138-140
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• 2010

Papercutting은 인류 사회에서 예술 형식중의 하나이며 오랜 역사를 통하여 풍부한 소재와 형식으로 광범위한 지역에서 사용 되어는 장르이다. 시대의 발전에 따라 papercutting도 급속도로 널리 퍼지고 있다. 현대사회에서 Papercutting은 단순한 장식예술품이 아니라 트렌트(trend)와 라이프스타일을 표현하는 생활예술을 기초로 하는 디자인이다. 이러한 점에서 본 연구는 시각적인 Papercutting의 표현 분석을 주로 하고 있다. 특히 전통과 현대의 중국 한국 일본을 비교해서 역사적 문화적 배경에 따라 Papercutting의 현대적 변용과 새롭게 떠오르는 효용을 어떻게 활용하고 있는지 분석하였다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.89-98
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• 2019

Performing arts, for instance, theatre and dance that perform on the stage, should recognize the contemporary characters and also emphasize the trend of the times. Thus, the subject of those varies and provides the audience diversity contents and style. People who perform those try to put the contemporary characteristic and sociality into their stage by utilizing new technology for their stage to be more sophisticated in aesthetic and philosophic aspects. According to the trend of the times, science and technology have been making great progress. As a result, the stage technology continues to develop, contributing to enhance the aesthetic and philosophical completeness of the performing arts. Also, there are technical and formal researches or methods constantly that make the performing arts new and diverse. Therefore, it can be said that it is very important to widen a category of the performing arts that amplify the actor's acting and emotions on the stage and then give the audience an experience. This paper will analyze in the way which various image techniques utilize to widen the actor's technique in the performing arts and the actor's technique progresses in the era called the Fourth Industrial Revolution era that grafts the art onto new media. Through this paper, in the era of the Fourth Industrial Revolution, a new paradigm in actor's acting which is becoming a hot topic in performing arts is predicted and anticipated.

• Cartoon and Animation Studies
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• s.32
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• pp.121-140
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• 2013

This study takes a look at diverse artistic strategies is taking as a graphic novel of participation. Pascal Croci has used and combined the forms to convey the message he want as a writer of an inclusive graphic novel, image-text. It is linked with an intrinsic to the graphic novel as well as tradition of realism in a wide variety of genres. This study takes a brief look at the realism art in each genre and confirms in relation to the artistic characteristics of intrinsic to the graphic novel is taking as a graphic novel of participation. is consists of the process of covering a case and the form of a broadcasting report and a fictional format emphasizes the objectivity in contents to highlight the journalistic characteristics of the general narrative. uses various artistic languages of realism. The audience feels a realistic case through the experience and writer's message is convey effectively. shows the generic openness of the graphic novel.