• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.132-141
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• 2012

This paper historically sheds the new lights on the artistic worth and achievement of abstract animation in the animation genre, and presents the contemporary significance and importance of abstract animation through the study on the avant-garde characteristic and the works of abstract animation artist, including Mirai Mizue. Though abstract animation which is artists' experimental work dealing with speed and movement of image has an essential role for the development of modern visual culture and animation, it is losing meaning and value because of the commercialism and capitalism of digital contents industry. Therefore, this paper first presents that the study of experimental animation like abstract animation contributes to the diversification and improvement of digital contents industry then it discusses the effect on the contemporary digital contents industries, next analyze the historical development and comtemporary evolution of abstract animation, which is diversified from modernism to contemporary art, and finally discuss the experimental feature and expression of abstract animation.

• KSCI Review
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• v.15 no.1
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• pp.191-195
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• 2007

본 논문에서는 영상으로부터 한국적 감성 데이터를 추출하고 감성 컨텐츠 프레임워크(ISC) 구축을 통해 영상데이터를 다양한 멀티미디어 데이터와 함께 사용자에게 전달하는 시스템을 제안한다. 이를 위해 먼저 영상으로부터 객체를 분리해내고 각각의 특징벡터 모델을 구축한다. 특징벡터모델은 요소인자로써 벡터공간의 데이터로 입력되고, 정규화 된 한국어 형용사 데이터와의 근접도를 비교하여 대표 감성을 표현하게 된다. 또한 감성 컨텐츠 데이터의 3층 구조를 이용하여 멀티미디어 데이터를 분류하고 대표 감성형용사와의 인자사상을 통하여 다양한 영상-감성 컨텐츠를 제공하는 프레임워크를 설계한다. 이것은 다양한 영상의 추상데이터에 대응한 감성표현을 추출하여 영상에 내포되어 있는 정확한 의미를 관찰자에게 전달할 수 있다.

• Journal of The Korean Radiological Technologist Association
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• v.29 no.1
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• pp.271-271
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• 2003

• Proceedings of the Korean Society of Crop Science Conference
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• 2017.10a
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• pp.16-16
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• 2017

• KIPS Transactions on Software and Data Engineering
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• v.6 no.12
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• pp.587-592
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• 2017

In this paper, we raise a question: what makes presence in artistic works. Presence has been defined as a physiological and emotional feeling which feels that he or she is immerged in a specific artworks when he/she is very interested in the artwork. We design and implemented an abstract media art "The Light" which uses the color, trace, and interactivity of light to measure quantitative presence. Frequency spectrum of light on specific object which we perceive makes color; Motion of light and its impact on object makes shape which perceived in our human visual system; Interactivity or perceived distance between object and observer makes intensity of perception. We experimented our images with subjective survey which includes PQS (presence questionnaire survey) and objective test using brain signals (EEG). From our interactive experimental moving images tested on 30 subject, we conclude that we can make more presence as we interact more with images. Photo-realistic images is just pass-by and it is transformed to abstract images, as we more focused on the images, and the essential components of the abstraction includes color, trace, and interaction with subjects.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.484-492
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• 2016

Role of music in an image can be divided into a supplementary function to express narrative of image and an independent function to become the subject of music and to lead the image. To perceive sound through hearing and then, to make it visualized is called visual music. Since the 19th century, image synchronization of music through colored hearing has been continuously attempted by artists in their works. Also in the 20th century, many artists could attempt time-wise concept of movement passing the bounds of three-dimensional expression due to development of cinema. In such a process, artists with strong experimental spirits inferred correlation between sound and image and then, pioneered new genre of visual music. As a result, the times are being changed from those of listening to those of watching, and various works are being produced by experimental attempt of various music and images. This thesis aims to investigate aesthetic characteristics of modern visual music and then, to conduct comparative analysis on how visual music using colors are utilized in diversified fields such as movie, animation, music video and media art.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2001.10a
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• pp.101-104
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• 2001

Many applications are developed on variety type of mobile terminal with mobile tole-communication improvement. We suggest that we offer more improve multimedia environment on that development. So we design SWF player which supports Macromedia SWF file format. It is application that animation and graphic module are independent of system. In addition to, we implement SWF player on mobile communication environment. for the purpose of it, we adapt AKL concept, which is designed for the consistent interface on heterogeneous operating system environment.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

• 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.