• 한국실내디자인학회논문집
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• 제23권5호
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• pp.139-145
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• 2014

As life is changing, modern people are interested in culture life more than the past and as a result Art Exhibition increases. Nowadays many methods of exhibit are introduced, especially Direct experience. Trick Art Experience exhibition introduced Direct experirence to a work of art for interests and used props, objets, images, and sounds for maximizing experience element. Trick Art Experience exhibition added humor as imitating famous painting and gave a deep impression through the optical illusion technique which make flat structure look three-dimensional structure. Recently, demands for Experience exhibition which are like Trick Art increase. This study figure out pros and cons through a comparison analysis of direction and component about Trick Art Experience exhibition and find a check list about making an audience active about experience. From now on, we have an object about showing design data including customer satisfaction measurement to make various expressions of direction and component about Experience Art through a case analysis. We have firsthand visited case spaces to experience the spaces and prepared a check list for the relevant types of expressions. Referring to the exhibit work classification system, components that correspond to Trick Art Experience exhibition were grouped according to constituting items. Among the types of expressions, the levels of satisfaction with Experience exhibition and Participating exhibit were found to be high and the level of satisfaction with Heart Moving exhibit was found to be low through surveys. Among the components, the levels of satisfaction with stereograms and formative effect elements were found to be high and those of spatial changes and media effects were found to be low through surveys. Therefore, the expressions should be reinforced and the components should be improved.

• 한국실내디자인학회논문집
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• 제22권3호
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• pp.61-69
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• 2013

The conventional boundaries between art and technology are being torn down by the development of science in the 21st century. It is fulfilling the convergence to emphasize two-way communication. This research is to study the aesthetic experience of the space design which appeared in the playful space of art and technology. The purpose of this study is to analyze the expression and characteristics of the art and technology applied for the playful space, to present the intrinsic value of aesthetic experience, and finally to focus on the necessity of aesthetic experience in modern society. In the Playful space of art and technology, research methods and settings of the range to study the aesthetic experience are as follows: First, establish a theoretical consideration about the concept and characteristics of the aesthetic experience, based on Philosophical theories. Second, analyze the meaning of art and the expression elements and characteristics by using technology. Third, discuss the concept of play and features of aesthetic experience in the playful space. Fourth, investigate analysis of the case studies, focused on the architecture and space design announced through the media recently. Finally, proposes the value for the applicability of aesthetic experience that appears playful space works affect us. I saw the aesthetic experience that appears playful space independent reaction and lead to behavioral changes and physical experience to maximize the effectiveness of participation. and it is to maximize a pleasurable experience, while increasing the commitment to participate in the space. Expressions using art and technology are activated by stimulation of the emotional experience, creating a new aesthetic experience. In the modern, the new environment is being created by the convergence of art and technology and it stimulates the imagination of art. Also, it has been newly regulated the meaning of human emotions and consciousness in the new space, surrounded by technology.

• International Journal of Internet, Broadcasting and Communication
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• 제16권1호
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• pp.80-85
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• 2024

The concept of single-modal digital art originated in the 20th century and has evolved through three key stages. Over time, digital art has transformed into multi-modal interaction, representing a new era in art forms. Based on multi-modal theory, this paper aims to explore the characteristics of interactive digital art in innovative art forms and its impact on user experience. Through an analysis of practical application of multi-modal interactive digital art, this study summarises the impact of creative models of digital art on the physical and mental aspects of user experience. In creating audio-visual-based art, multi-modal digital art should seamlessly incorporate sensory elements and leverage computer image processing technology. Focusing on user perception, emotional expression, and cultural communication, it strives to establish an immersive environment with user experience at its core. Future research, particularly with emerging technologies like Artificial Intelligence(AR) and Virtual Reality(VR), should not merely prioritize technology but aim for meaningful interaction. Through multi-modal interaction, digital art is poised to continually innovate, offering new possibilities and expanding the realm of interactive digital art.

• Architectural research
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• 제13권1호
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• pp.3-9
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• 2011

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

• 한국환경교육학회지:환경교육
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• 제12권1호
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• pp.225-241
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• 1999

The art subject deals with aesthetic experience within natural environment around and artificial environment, and it represents the experience through formative arts. And it also extends the aesthetic experience by making students appreciation of the works of art. In the main text of this study was studied with the connection with environmental education on the basis of the characteristics of art subject. That is, in the art education there can be an understanding of the harmony between natural environment and artificial one and their relationship and, furthermore, more positive environmental education can be possible by environmental murals, environmental sculpture, environmental design, packing design, poster design, elf through systematic formative arts. In addition, the art education can make students keep sensitivity to the natural and artificial environment through the appreciation of a variety of art works made with a theme of environment or through the appreciation of the works in the environment around our lives. Also, it can lead to acquire the desirable values and attitudes toward the environment by discussing the harmony of environmental development and environmental preservation visually. In the second place, this relation described in detail by each grade according to the contents of the 7th curriculum for the art subject. In the third place, the following were suggested: the goals for the environmental education in the art subject, the direction of environmental education, the organization of contents related to environment and their emphases, and the main teaching and learning methods for environmental education.

• 한국산학기술학회논문지
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• 제18권12호
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• pp.264-275
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• 2017

연구목적: 본 연구는 누리 연계 유아의 숲 체험 미술 활동이 환경 감수성에 미치는 영향력을 밝히는 데 목적을 갖고 실증조사 하였다. 연구방법: 어린이집 만 4세 유아 대상 숲체험 미술활동을 16차시 50일간 수행후 실험집단 20명과 통제집단 20명을 대상으로 설문지에 의한 평가 조사후 통계분석 방법을 통해 분석하였다. 연구결과: 유아들의 숲 체험 미술 활동이 환경 감수성에 긍정적인 영향을 미치는 것으로 나타났으며 특히 실험집단에서의 자기인지, 자기조절, 감정이입, 동기부여에 긍정적인 결과를 나타내 발달기 유아들의 누리 과정 연계 숲 체험 미술 활동 교육의 교육적 효과와 유용성을 뒷받침해 준 것으로 평가할 수 있다. 이는 숲 체험 미술 활동이 관찰과 탐색을 이끌어내 유아들에게 미술에 대한 흥미를 발현하는 창의적인 표현활동과 동시 환경에 대한 긍정적인 태도와 감성적 사고를 갖게 하는 교육적 경험을 제공한다는 측면에서 유용성을 갖는다. 연구결론: 이상의 결과를 볼 때, 유아들의 숲 체험 미술 활동이 유아의 환경감수성에 긍정적인 효과를 미친다는 사실과 함께 현장의 유아교사들에게 유아 교수학습방법에 보다 유용한 정보를 제공해 줄 수 있을 것으로 생각된다. 따라서 유아의 숲 체험 미술 활동은 자연을 익히고 환경 친화적인 감성 지능의 증진을 위한 하나의 대안으로 유아 교육 현장에 적극 도입할 필요가 있다.

• 교육철학
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• 제49호
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• pp.235-270
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• 2013

The aim of this study is to make clear the significance of art education for solving problem in elementary and secondary school. These days, our students have so many negative problems in school and society, for example, school violence, group teasing, group outcasts, arrogate teacher's authority, school collapse, dehumanization get soused excessive and such like. We must support to make humanization through a normal art education and art class. Art, music, physical and literature education is a good methods for human education and mental therapy. The best art education is enlightening the children's imagination and curiosity. To enlighten. in art class at the school, teachers must think about enlightening the children's imagination and curiosity. Aesthetic experience includes creative activities and appreciative activities for human formation. The school must expend effort to increase the art class in each week, because students can change positively in aesthetic experience and aesthetic environment.

• 문화기술의 융합
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• 제10권3호
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• pp.635-641
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• 2024

논문은 메를로-퐁티와 레이코프의 육체와 정신의 분리 불가능성에 관한 연구를 바탕으로, 미디어아트 기반의 다층공간에서의 경험이 인간 존재의 이해에 미치는 영향에 대해 탐구하고자 한다. 미디어아트가 제공하는 감각적 경험은 관람자의 신체적 존재감을 강화하고, 현실과 가상의 경계를 모호하게 함으로써 새로운 현실 인식을 유도한다. 이를 통해, 인간의 존재와 세계와의 깊은 관계를 새롭게 인식하고 탐색할 수 있음을 보여준다. 본 논문은 미디어아트가 어떻게 육체와 정신의 연결을 통한 존재적 경험을 확장시키는 중요한 수단이 될 수 있는지를 분석하고, 예술과 기술의 결합이 존재론적 이해에 기여하는 방식을 설명한다.

• 미술이론과 현장
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• 제6호
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• pp.147-163
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• 2008

The 1960s is a decade that is marked by new concepts of art making and art appreciation. Starting from Fluxus, the new art in the 1960s such as Happenings and performance art pursued the process of art making as an integral part of artistic experience. The traditional concept of art works that only appeal to vision soon became a site of contentious experiments and innovations in which the experience of seeing is accompanied by other sensual encounters of sound, smell, touch, and taste. These attempts can be seen as a revolutionary move to restore the sense of corporeality to the act of seeing that has been disembodied by the way in which western art has built the unifying, homeogenous field of vision. This paper delves into the works of Fluxus artists - Daniel Spoerri, Ben Vautier, Alison Knowles, Ay-O, and Takako Saito - who were central figures in taking art into the new age of post-ocularcentrism. Exploring the sense of smell, touch, and taste, these artists led the viewer to participate in their art making with the incorporated vision.

• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.132-141
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• 2023

The purpose of this study was to understand the vivid realities of important technical and relational aspects of visual art that were emphasised during training by art therapy supervisors and educators. Max van Manen's hermeneutic phenomenological methodology was incorporated into the study. Summarising their main experiences, art therapy supervisors enabled experiences of reproducibility and immediacy in their supervision, and allowed visual art to be used as a tool to foster inner contact with their supervisees. To enable this experience, art therapy supervisors provided a creative foundation and a receptive environment that promoted creativity for supervisees to use and experience art beyond the role of passive viewers. The results of this research clarified how the participating supervisors interpreted the value of art therapy as a method to nurture the professional growth of trainees. Their contributions suggest experiences and methods that may effectuate future advancements in the field of art therapy supervision.