• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2011.11a
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• pp.56-58
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• 2011

• 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.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• Cartoon and Animation Studies
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• s.6
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• pp.34-71
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• 2002

Animation has been developed as a part of artistry, and maintained a correlation with other various genres such as art, film and music to bring changes in form and to seek new things. Recently, technological advancement also has supported digitalization of producing process with variety in its method. Basic unit of animation production is a frame. A set of frames which has an image of producer's intention comes to life as animation when constructed, connected and transformed. A producer usually goes through a series of trouble when deciding how to express one's intention in images. Framing in animation is a kind of visual information which reflects producer's visual perception. A producer does not simply characterize matters into geometrical figures or give circumstantial explanation, but does framing work that relies on expression. Artistic psychology based on Gestalt Theory does not concentrate on abstract artistic philosophy with conventional beauty as its center, but pursues ambiguity and coherence of formative arts to support on accepting systematic order. Therefore, the purpose of this study is to find theoretical assistance which may be fundamental part in framing of animation. First, ten elements of Rudolf Arnheim centering on Gestalt Theory shall be redefined as concepts. Based on its ground, I will attempt to analyze shape-quality of framing of conventional animation, and make an approach with my personal experimental project. From this research project, I intend to analogize systematic aspect of framing in animation and to make framing of animation possible to assist in actual production of animation.

• 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.