• Korean Association for Visual Culture
• /
• v.16
• /
• pp.131-161
• /
• 2010

This thesis investigates the cultural meanings of the first optical instrument, Camera obscura, in the pre-modern age, while it explains the development as well as the use of the Camera obscura in Europe and Korea. For this purpose the thesis traces the significant phases of the historical developments of the Camera obscura from L. da Vinci, G. B. della Porta, D. Barbaro, A. Kircher to J. Zahn etc. The Camera obscura was not only the symbolic instrument of the modernism in the sense that human being wanted to observe the outer world by himself and to be freed from the viewpoint of the christianity, but also was the forerunner of the modern visual culture, because it first time reproduced the artificial image of the natural world. Since the second half of the 17th century the box-type reflex Camera obscura had been produced, it began to be used as aid to drawing for painters like J. Vermeer, A. Canaletto and J. Reynolds etc. throughout Europe. It tells the evidence of the close relation between art and technology in the pre-modern age. Around the end of the 18th century the Camera obscura was brought to Korea, the closed country of the Fareast, by the scholars of the so-called 'Realist school' (Silhak-pa) who went to Beijing to acquire knowledges on the Western science from the European priests. In 1780s Yak-yong JUNG, one of the representative scholars of the Realist school, experimented the Camera obscura, and then, it was used for sketches of higher aristocrats' portraits by the supreme portrait painter of that time, Myoung-ki LEE. Those were possible only under the reign of the culturally liberal and reformative King, Jung-jo (ruled 1776-1800), and after his retreatment the inquiry of the Camera obscura had been dimished. It is not a historical coincidence that the Camera obscura could be examined and used in the period of the Enlightment both in Europe and Korea.

• Korean Association for Visual Culture
• /
• v.23
• /
• pp.329-368
• /
• 2013

This thesis investigates the relationship of the 18^th century European landscape painting and the scientific (optical) instruments like Camera obscura and Camera lucida. Based on the fact that some landscape painters, 'veduta painters', at that times might have used or surely used these optical instruments in their sketches/drawings, it explores the reasons for using them and their working process with them, and analyses the advantages/disadvantages here as well as the aesthetic problems in the cases of the Italian painter Antonio Canaletto (or Canal, 1697-1768), the British topographic artist Thomas Sandby (1721-98) and the British chemist/optician Willian Henry Fox Talbot (1800-77). Advantages of using Camera obscura/lucida are rapidity in drawing, truthful representation of nature/reality and 'accurate' fulfilling of perspectival structures. But partly 'inaccurate' or simplified depictions as disadvantages can be traced in drawings/sketches made by using these instruments. Another problem lie in the subordination of the artistic work to the technical devices, but for artists still remain the creative working process in painting like coloring, tone and chiaroscuro etc. Therefore, it can be maintained that the optical instruments have played a role of the subsidiary tool as an aid to painting.

• Journal of Korea Multimedia Society
• /
• v.21 no.5
• /
• pp.638-647
• /
• 2018

This study aimed to identify visuality changes in the $21^{st}century$ digital visual media art through the expension of digital frames based on visuality represented by Cartesian perspectivalism in the modern age. The visuality of perspective, camera obscura and panorama, which are called modern visual systems, was analyzed to illustrate each characteristic from a viewpoint of a seeing subject. These characteristics of the visual systems were restructured to meet the visuality of the digital era through the illustrations of Lacan's gaze. In addition, the characteristics of frames found in the $21^{st}century$ digital visual media art were identified, and they were categorized into and illustrated from physical, convergent and interactional viewpoints. The outcomes were classified into the $21^{st}century$ digital frame types, and new $21^{st}$century digital visual illustrations were suggested based on the results.

• 대한공업교육학회지
• /
• v.39 no.2
• /
• pp.122-143
• /
• 2014

The purpose of this research were to develop program of elementary school technology education using history of technology and to learn about its effect. In order to accomplish the purpose of the research, we developed the program by referring to various records and perform the qualitative experiment study through several questionnaire, pictures and materials, to learn about the program effect. The research took the mixed-model design, consisted of collection of quantitative data by Likert scale and collection of qualitative data including the open-ended questions. And the research results were as below. First, development of elementary school technology education program using history of technology was developed as program for 12 hours, 12 themes, for the elementary levels. Second, seeing the result of program of elementary school technology education using history of technology, the program for history of technology for the primary school students, a majority of answers showed high satisfaction about the program, giving answers such as 'I want to do it again following hands on minds on activity.' Third, according to the analysis on the qualitiative evidence of the program, students were found to take pictures with hands on minds on activity camera obscura with much interest and curiosity. Many students are seen to complete the task on their own with a great a look of self-satisfaction, understanding the principle of camera.