• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.121-134
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• 2004

Wiener Werkstaette(workshop) established in 1903 was an artistic handicraft working group, the central figure of which was an architecture, J. Hoffman. Especially its textile design part established in 1910 produced good results. The textile design part of Wiener Werkstaette took total artwork (Gesamtkunstwerke), which Pursued artistic work in all visual parts of life, as a central concept of their work and tried to insert the artistic creativity into the textile design. Regarding the influence relationship between Wiener Werkstaette textile design and formative art, it was influenced by the geometric tendency of C.R. Mackintosh and the style and motive of Japanese art. From 1910's, bright, vivid and cheerful designs were mass-produced by uniquely using various motives, techniques and colors. The formative significance of Wiener Werkstaette textile design are as follows. Firstly, the pattern includes both rational and sensual elements. Secondly, the aesthetic patterns of Wiener Werkstaette include formative elements anticipating the modernism. The leading artistic sense like this played role of catalyzer through which the golden age of artistic decoration, art deco, came. The significance of the textile was made aware through clothes design . The clothes design made with Wiener Werkstaette textile conveyed message as art to everyone and provided the elite of society supporting them with Proud that they are fashion leader ahead of times and have artistic sense. Wiener Werkstaette textile design like this played big role as an instrument for realizing the total artwork by attaining the new artistic formative fruits.

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.34-34
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• 2004

1903년에 설립된 오스트리아 빈공방은 총체개념을 가진 호프만(Josef Hoffman)을 중심으로 1910년경부터 직물파트를 설립하여 왕성한 활동을 하였다. 빈공방 직물디자인을 3단계로 나누어 그 조형성과 영향관계를 살펴보면 1기는 1903년부터 1910년까지로 핵심인물인 모저와 호프만은 세세션과 맥킨토시의 기하차적인 성향과 일본미술의 양식과 모티브에 영향을 받아 자연형태를 기하학적으로 양식화하여 간결한 문양디자인을 하였다. (중략)

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.88-99
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• 2016

Traditional Performing Arts is a key element of national competitiveness that represents the identity of a country. Preserving traditional performing arts such as traditional culture overall aggregate such as literature, art, music, dance, theater and enable it to meet future national culture is to secure a competitive brand. Meanwhile, it shrouded in advance global success of K-pop and TV content, such as our popular culture, but our traditional performing arts sector, there has been a steady effort to receive the attention of the world and expanding capacity and performance. Now, this point will be a new policy approach needed to expand more popular in both domestic and world demand in traditional performing arts. In this study, we propose a strategic plan to raise the popularization and industrialization of our own needs and unique traditional performing arts opportunities for successful overseas expansion and promotion of the content of traditional performing arts.With the help of information technology.

• Archives of design research
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• v.20
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• pp.161-171
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• 1997

Aesthetic Movement is an artistic movement which intended to bring up the quality by implanting beauty in everyday life. Aesthetic movement made the beauty itself come alive within each person and thus made it possible to improve the quality of life. Aesthetic Movement emphasized the total artistic concept and this brought new wave to the textile design movement. This paper is the study on the Aesthetisism and the effect that had on the textile design. This study draws the conclusion that there are four areas the textile designs of that era was influcenced by : Firstly , through the influence of the Japanese art, the textile designs came to have 2 dimensional quality. Secondly, through the influence of the pre Raphaelite, colors in the textile designs changed to have pale tones. Thirdly, with the influence of William Morris, the creativity in textile design came to be alive. Forthly, to better the quality of life and design, the cooperative spirits of Arthur Liberty, Morris, Godwin, Lewis Days and other designers, architects including artists contributed a great deal to make the English textile designs to be creative contemproary art works.

• Journal of Korea Game Society
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• v.9 no.6
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• pp.57-68
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• 2009

The purpose of this article is analyzing the ironic characteristics of MMORPG character. The MMORPG character's ironic characteristics are: inner irony which is caused by relationship between each character, outer irony which is formed by relationship between character and player. The inner irony is based on the heroic role of character and its context. The death and rebirth system of game make the outer irony. The result of analysis shows us that MMORPG is a presentational art and it can give us a profound meaning of life.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.146-154
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• 2010

Argument on the postmodernism of philosophy and history, epic and effect, and culture and art is becoming more ambiguous in scope due to digital technology development. Digital technology makes to change of aesthetic approach over the length and breadth of art and culture including medium art. Analysis of Digital images is changed from presence of images to feature analysis of images which is made by digital technology, and raise the question of how to analyze the images of reproducing digital technology focused on realism. Digital image, focused on hyper reality, should be approached not by film aesthetic approach but by shot unit. Due to emphasizes image reality reproduction by frame unit and not the short unit of the narrative approach, the artistic approach should differ from previous realism practice. Particularly, when considering movies which is focused on illusion, the realistic approach should be realized not in the of realistic approach in narrative aspect but in the aspect of realistic approach in painting aspect.

• Journal of the Korean association of regional geographers
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• v.4 no.1
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• pp.27-41
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• 1998

The communication model has been accepted as the basic research paradigm of cartography since Board(1967) discussed the map/model analogy. In that paradigm, the function of maps was limited to the media of communication, and the functionality of maps was extremely emphasized. Therefore the model could not play its own role under the new environments such as computer, GIS, scientific visualization. Nowadays, the model has been attacked on several grounds and several alternatives have been suggested. Among the objections raised are (1) geographic visualization in which maps are considered as the tool of scientific visualization, (2) the contributions of art which are ignored in the positivist cartographic research, and (3) deconstructionist arguments which deny the scientific epistemology of map as an objective form of knowledge and recognize the textuality of maps including their metaphorical and rhetorical nature. Since a publication by McCormick et al, the scientific visualization based on the powerful computer graphics is used in a wide context. Maps are treated as the tools of scientific visualization and emphasis is on exploration of the geographic data to gain understanding and insight in the geographic visualization processes. The research on geographic visualization have stayed in the early stage of developing the conceptual model and the basic visualization tools. But, it is expected that the geographic or visual thinking which is emphasized in the geographic visualization will contribute the reestablishment of links between cartography and geography. Also, the development of scientific visualization tools and strategies will offer the opportunities to suggest a fresh idea, to synthesize information and develop holistic approaches to geographical problems.

• Korean Association for Visual Culture
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• v.35
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• pp.5-33
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• 2019

This paper examines the problems of the concept of 'analogon' which occupies an important place in Jean-Paul Sartre's theory of imagination and his 'aesthetic of the unreal', focusing on Michel Dufrenne's objection to the concept. In the Imaginary (1940), Sartre offers a phenomenological account of the imaginative experience and his theory of imagination provides the basis for his account of experience of art. Sartre distinguishes the imagining consciousness from the realizing consciousness of perception. The work of art, for Sartre, is transformed into an irreal thing ("The work of art is irreality."), i.e. it appears only as aesthetic object, and only under the condition that the spectator's consciousness changes into an imagining consciousness. Some claim that Sartre underemphasizes the function of materiality in artworks. Mikel Dufrenne, in his The Phenomenology of Aesthetic Experience (1953), criticizes Sartre's thesis of irreality. Dufrenne argues that the aesthetic object is the work of art accomplished by aesthetic perception, the meaning of the aesthetic object is given as a whole in the sensuous and does not refer to something that lies outside the object as with imagination or irreality. An affective a priori is the condition of possibility for the occurrence of aesthetic experience.

• Journal of The Korean Association For Science Education
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• v.33 no.2
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• pp.266-283
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• 2013

The goal of this study is to explore the characteristics of perceptual change among students majoring in arts on the nature of science and apply the results to science education. According to the study, it is important to consider the results of interaction between learners' aptitude and teaching method. Teaching the nature of science to first grade students explicitly, experimental inquiry strategy was applied to fine arts students, and teaching strategy of scientific history to music students. To find out which elements of the nature of science have come into view on modern philosophy of science, pre and post tests on the nature of science (VNOS-C) were conducted on the students. To find out specifically why views on the nature of science have changed, a case study was conducted focusing on students who showed changes in their views on the elements of the nature of science. In conclusion, this study suggests that by using experimental inquiry strategy and strategy of scientific history properly, it is possible to change students' viewpoints on the elements of the nature of science and on modern philosophy of science. Through explicit instruction, we were able to find some positive conceptual changes on the nature of science and the modern philosophy of science in terms of both quantity and quality. This shows that the students studying arts are experiencing a constructivist conceptual change on the nature of science, and that conceptual ecology and learning strategy are involved in this process. Therefore, it is thought that this study offers an important implication in organizing science education on the nature of science.