• The Journal of Art Theory & Practice
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• no.16
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• pp.257-272
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• 2013

This paper analyzes six different ways of articulating the relationship between art and politics. It calls attention to the differences that lurk behind the seemingly simple phrase-everywhere in vogue today-the "politics of aesthetics." Five of these models are drawn from contemporary discussions regarding the politics of art. The last model is the attempt to develop an account of the politics of aesthetics that is faithful to the difficult and ambiguous dimensions of the aesthetic experience that were hinted at by the texts of classical philosophical aesthetics. Most notably, this paper is concerned with the idea that the aesthetic experience can be understood as a form of disinterested contemplation-one that is not reducible to cognitive or moral considerations-and with some of the consequences that this entails. It explores some of the political significance that can be attributed to this idea of disinterested contemplation, arguing that the aesthetic should be understood as a withdrawal from the world's pre-established meanings. Unlike some of the other thinkers discussed in this paper, this author doubts that a single, uniform meaning can be ascribed to the aesthetic experience. I thus argue that we need to approach the aesthetic through the networks of textual significance that have been built up around it. Throughout this paper, I attempt to explain how the efforts to link art and aesthetics to politics simultaneously give rise to ideas about the nature of the human community. In looking at the sixth and final model, what I have called the "anarchical politics of aesthetic ambiguity," I argue that the aesthetic tradition offers a rather unique way of understanding the relationship between the individual and the community. Here, we see that the aesthetic is prone to a number of paradoxes, central among them the one that makes art the bearer of a solipsistic pleasure in which we nevertheless discover our capacity for genuinely communicating with others, outside of cliches and banalities.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.20 no.6
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• pp.1203-1208
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• 2016

For young children who are not spontaneous or not accurate in verbal communication of their emotions and experiences, drawing is a good means of expressing their status in mind and thus drawing analysis with chromatics is a traditional tool for art therapy. Recently, children enjoy digital drawing via painting tools thus there is a growing needs to develop an automatic digital drawing analysis tool based on chromatics and art therapy theory. In this paper, we propose such an analyzing tool based on dominant color analysis. Technically, we use ART2 clustering and fuzzy logic to understand the fuzziness of subjects' status of mind expressed in their digital drawings. The frequency of color usage is fuzzified with respect to the membership functions. After applying fuzzy logic to this fuzzified central vector, we determine the dominant color and supporting colors from the digital drawings and children's status of mind is then analyzed according to the color-personality relationships based on Alschuler and Hattwick's historical researches.

• Archives of design research
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• v.15 no.1
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• pp.15-26
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• 2002

Contemporary visual art is characterized by a systematic study of the irrational. This trend was largely a reaction to the rationality of Modernism, which felt out of fair in the post-industrial society. This new trend against Modernism is represented by Deconstructivism. However, the appeal of irrationality has a deeper root. In this article, we examine the historical roots0 of this interest in the irrational. In doing so, we focus tour attention on the effect of Freud's theory of the subconscious on the growth of Surrealism in modern art. In particular, we explore how this same tendency is reflected in modern. floral art & design. By doing so, we are able to relate the developments in floral art & design with the developments in other areas of modern art. Finally, we show that it is possible for floral art & design to be in the vanguard of contemporary art because of its unique characteristics.

• Journal of Fashion Business
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• v.9 no.6
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• pp.39-55
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• 2005

This study examines closely the relationship between beauty art service quality and value. And satisfaction and purchase action that they do perceive to customers who have beauty art service company's service use experience. Moreover, this study was achieved purposely to present service raising plan of good quality to beauty art company managers and business employees. First, to investigate the concept of beauty art service quality and special quality was with doctrines that have been presented through a virtue aspect to achieve this study. Moreover, the wave and beauty art service, human service relativity is a let down unlike manufacture enterprise. Further more, beauty art service by complex composition of existence and nonexistence style is sold, and it could be known by having personality consumed at the same time production. The concept of quality about beauty art service and quality that became perceived through virtue study of concept and measurement about value. Therefor, value was deduced, and could deduce measurement, the linear measure that is applied to measure this. Large majority virtue study found is measuring quality of service to 22 articles on PZB's theory, and this study corrects measurement, the linear measure that is applied in Morritt's study that is based in PZB matrix and supplements and attempted measurement to 22 items. The result measurement dimension is consisted of functional quality, technological quality, physical quality dimension. To measure this through virtue study about value that become perceive, could confirm that all expense and beauty art companies which the customer is paid, connect with offering general quality of service. Therefor, through measurement, 2 dimension was deduced by monetary value and the non-monetary value.

• The Journal of Art Theory & Practice
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• no.5
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.16 no.2
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• pp.726-741
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• 2022

The purpose of this study is to provide instructive theoretical models for art (music) education institutions especially when unpredictable risks, such as pandemics, occur again. Based on the customer behavior theory of the business-to-business-to-customer (B2B2C) platform, and in combination with the technology acceptance model (TAM) and expectation confirmation model (ECM), this study proposes an online education model from the perspective of art education. The framework is based on the three decision-making processes of the customer, and includes the product owner, content owner, and customer area. This paper highlights the factors that influence customers in making decisions when art education institutions are product owners. Regression analysis was introduced to study the factors influencing the expectation confirmation, and the overall fitting testing and six hypotheses testing of 385 effective samples were performed using the structural equation modeling (SEM). The results show that the course-design and after-service positively influenced the expectation confirmation, and the domain image positively influenced the continuance behavior. Negative emotions skipped the mediator (expectation confirmation) and directly exerted a significant negative impact on customers' willingness to continue system usage (continuance behavior). In addition, expectation confirmation positively influenced continuance behavior. The paths of detailed items comprising course-design, after-service, and negative emotion were also analyzed and discussed. In this path analysis, ordinary art learners did not believe that AI partners can play a very good auxiliary role. The findings contribute to the scope of information systems acting as an art education platform academically, and provide effective and theoretical support for the actual operation of art education institutions.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.85-95
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• 2010

East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

• Phonetics and Speech Sciences
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• v.1 no.2
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• pp.3-8
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• 2009

In an effort to improve speech recognition, we investigated the effect of the number of clusters. In usual LBG clustering, the number of codebook clusters is doubled on each bifurcation and hence cannot be chosen arbitrarily in a natural way. To have the number of clusters at our control, we combined adaptive resonance theory (ART2) with LBG and perform the clustering in two stages. The codebook thus formed was used in subsequent processing of fuzzy vector quantization (FVQ) and HMM for speech recognition tests. Compared to conventional LBG, our method was shown to reduce the best recognition error rate by 0${\sim$}0.9% depending on the vocabulary size. The result also showed that between 400 and 800 would be the optimal number of clusters in the limit of small and large vocabulary speech recognitions of isolated words, respectively.

• Journal of the Korea Computer Industry Society
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• v.2 no.4
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• pp.471-480
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• 2001

In this thesis, we perform the experiment of speaker recognition by identifying vowels in the pronunciation of each speaker using Adaptive Resource Theory 2(ART2) model. The 5 adult males and 5 adult females pronounce from 0 to 9 digits. We extract the vowels from the pronunciation of each speaker first, we are extracted characteristic coefficient through a pitch detection algorithm, a LPC analysis, and a LPC cepstral analysis to generate an input pattern of ART2. The experimental results showed that pitch coefficients are somewhat more enhanced than LPC or LPC cepstral coefficient.

• The Journal of Art Theory & Practice
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• no.10
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• pp.63-84
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• 2010

This essay examines how the figure of Liberty has been refashioned in the streets of post-apartheid South Africa, addressing three public art works installed in Johannesburg over the past decade: Reshada Crouse's oil painting Passive Resistance, Marlene Dumas' tapestry The Benefit of the Doubt and William Kentridge's and Gerhard Marx's sculpture Firewalker. Even as these monumental works all reprise Delacroix's Liberty on the Barricades-an icon of the city street and its revolutionary barricades-so too this trio of Liberties have become mere phantoms of their vaunted archetype. Haunted specters, they quarrel with the mythologized chimera of Liberty, taking issue with the fraught tradition of pinning regime change onto the body of the female nude. Drawing instead on South African histories of women's resistance, in which female nudity has been repeatedly marshaled as a form of dissent, the Liberties circling Johannesburg hybridize their European template with local traditions of female political opposition to colonial and postcolonial male authority.