• Korean Journal of Childcare and Education
• /
• v.11 no.2
• /
• pp.131-150
• /
• 2015

The aims of this study were to organize whether the Kindergarten After School Specialized Art Program could be applicable to young children, and whether this program would be effective to the development of young children's art competence. This study consisted of two steps: development of the Kindergarten After School Specialized Art Program and examination of its impact on children's art competence. This study used a two-group pretest/posttest design. Statistical analyses employed for this study were descriptive analysis, ANOVA, and repeated measure ANOVA. The results were as follows. Firstly, the Kindergarten After School Specialized Art Program was developed based on a literature review relevant of current art education. Secondly, the experimental group revealed a significant improvement in four components, whereas the control group showed a significant, but slight improvement compared with the experimental group in only three components. Thirdly, in between group comparison, a competencies on the four components based on multiple-creative ability in the experiment group were higher than that of the control group and the difference between both groups was statistically significant. Therefore, the program seemed to be effective in the improvement of art competence and multiple-creative ability. In addition, recommendation for the future research about after school teachers' and parents' recognition of the Kindergarten After School Specialized Art Program and strategies for its application are suggested.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.169-190
• /
• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of Industrial Convergence
• /
• v.18 no.4
• /
• pp.1-8
• /
• 2020

The case of Dance Chang-jak-san-shil, a dance performance support project linked to digital media, was analyzed from the perspective of liveness. The purpose was to examine the limitations of the liveness and to suggest ways to overcome them. The research case was focused on the factors of the time and space and audience (the sharing of field and acceptance experience) of the creative production room that supports works based on the creativity of dance performances. As a result, active SNS for accessibility of performing arts, expansion of access to art through the use of teaching media of art education through archiving, multi-dimensional access and provision for inducing audience participation and creative appreciation in one-way digital media transmission, provision of copyright protection devices, and audience to enter offline. As a long-term strategy for the future of the performing arts field, I would like to present the need for a change in the communication with the audience and experimental works that combine art and technology.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.6
• /
• pp.911-922
• /
• 2002

This research aims to study comparatively on the aesthetic characteristics of the Technology Art and Technology Fashion Images in the 20th century. For this purpose, literature survey and demonstrative study were undertaken. The results were as follows ; As the concept of the art in the 20th century has been broadened by the development of technology and the creative application of it in the art, the relationship of the art and fashion has been much closer. The Technology Art and Technology Fashion Images in the 20th century have been developed by using technology itself and its artifacts directly or indirectly to express their attitude on the advancement of technology of the time. The plasticity of the Technology Art and Technology Fashion Images in the 20th century was identified as geometrical forms, high-tech materials, futuristic colors and lights and dynamic expression. The internal meanings of the Technology Art and Technology Fashion Images in the 20th century were identified as functionality, arrant-garde, utopian future orientation to improve human's life.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.41 no.5
• /
• pp.825-839
• /
• 2017

Generative Art (also called as the art of the algorithm) creates unexpected results, moving autonomously according to rules or algorithms. The evolution of digital media in art, which tries to seek novelty, increases the possibility of new artistic fields; subsequently, this study establishes the basis for new design approaches by analyzing visual cases of Generative Art that have emerged since the 20th century and characteristics expressed on fashion. For the methodology, the study analyzes fashion designs that have emerged since 2000, based on theoretical research that includes literature and research papers relating to Generative Art. According to the study, expression characteristics shown in fashion, based on visual properties of Generative Art, are as follows. First, abstract randomness is expressed with unexpected coincidental forms using movements of a creator and properties of materials as variables in accordance to rules or algorithms. Second, endlessly repeated pattern imitation expresses an emergent shape by endless repetition created by a modular system using rules or 3D printing using a computer algorithm. Third, the systematic variability expresses constantly changing images with a combination of system and digital media by a wearing method. It is expected that design by algorithm becomes a significant method in producing other creative ideas and expressions in modern fashion.

• Archives of design research
• /
• v.11 no.2
• /
• pp.155-164
• /
• 1998

This study is a proposal for the positive application of collage techniques into the process of interior design. For that, we need to set up the appropriate definitions of collage and to analyze its properties as a creative design methode of that field, in the basis of the twentieth-century art history. The study is divided into three sections as follows: 1) The traces of collage in the art movements such as Cubism, Dada, Surealism, and Pop art will be researched in terms of art concepts, appearances and, properties. 2) The relationships between collage and the main ideas of those art movements, as mentioned above, will be discussed for proving that collage is such an effective techniques as to erdxxly Post-modem ideas. 3) The examples of collage techniques and their effects appearing in Post-modem interior spaces will be surveyed for the purpose of proving its abilities as a creative design methode in interior design. Further studies should be succeeded for suggesting practical and educational models of its application.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.3
• /
• pp.101-106
• /
• 2019

This paper considers the historicity and aesthetical implications of in the art world of Paul Ryan(1943-2013) who designed the aestheticization of relational circuit of society by realizing the value of social transformation being inherent in video with cultural practices and suggesting the interdisciplinary method of leaning and research in the early video art history. To do this, in Chapter II, I review the first artwork presented firstly in the art gallery exhibition "TV as a Creative Medium" in 1969, in which Ryan proposed a video medium as a communication system and experimented the concept of 'feedback' in Cybernetics. And Chapter III focuses Ryan's discursive activities contributed to magazine Radical Software and artist-collective Raindance Corporation with growing interest in communication technology. At this time, Ryan regarded video medium as the tool for cybernetic expansion. Finally Chapter IV deals with the development of ecological method based on "a shared perception of environmental realities" and verifies Ryan's vision that video medium would be most effective means of social change and communication.

• The Journal of the Korea Contents Association
• /
• v.19 no.5
• /
• pp.562-571
• /
• 2019

The expansion of the performing arts market to include new genres of art that combine art and cutting-edge media technology has surpassed the limitations of traditional theatre art elements such as stage, costumes, lighting, sound, and props, allowing free expression of space-time and visual art. It is growing into a wide area with unlimited potential in the performing arts sector. In response to these changes and the demands of the time, there is an increasing demand for multi-talents who can plan and produce arts and technology-converged contents that will contribute to the development of the performing arts industry. As a result, university departments related to theatre art across the country feel that it is urgent to develop curricula that will enhance students' competency by incorporating the latest media technologies such as virtual reality, holography, and interactive motion sensors into the existing performance art visualization process. In this study, the author will examine the process of developing courses in technology-incorporated theatre art (design) through case studies of media technology-converged performances from the past 10 years. Based on the traditional concept of theatre art, the attempt to fuse stage art with media technology will be a cornerstone of attempts to foster a group of talented artists who transcend the limits of creative visual expression and creative value.

• Korean Association of Arts Management
• /
• no.58
• /
• pp.49-88
• /
• 2021

Contemporary literary writers engage in multiple jobs and activities in the changing industrial and institutional environments to manage careers and produce literary value. The notion of art entrepreneurship envisages writers as the actors pursuing optimal rewards at both literary and economic levels by applying creative knowledge and skills to the management of career. In contrast, the notion of creative labor argues that writers go through career insecurity as they pursue self-fulfillment through work. This paper critically reviews two notions and suggests the notion of cultural intermediaries to better understand their production of literary value within the variety of relational contexts where they are situated. This paper analyzes the structures and characteristics of a wide range of intermediary practices by literary writers. Based on the analysis, I argue that the autonomy of literary value the writers construct and their status of entrepreneur-labourer are contingent upon the relational contexts within which they practice the intermediary work. I also suggest that literary writers by utilizing a variety of tactics cope with the changes that shape the autonomy of literature and invent new roles and identities as cultural intermediaries. Furthermore, literary writers develop not only self-management skills to adapt to the changing environments but also the collective capacity to cope with the constraints derived from the structural change of literary production and circulation. Finally, I argue that the art management discipline can reflect upon and support the creative endeavors of literary writers by embracing the critical understanding of structural changes suggested by the disciplines of humanities and social sciences.

• The International Journal of Costume Culture
• /
• v.8 no.1
• /
• pp.32-42
• /
• 2005

This paper aims to propose fashion designs based on the application of art flower technique to translucent clothing material. For study method, firstly I looked into art flower applications occurred in modern trend since 2000 as well as theoretical research on art flower and transparency expressed as artificial beauty. Second, I attempt to express transparency in a variety of unique ways by using the art flower technique in producing clothes. Third, I utilized transparent flower with translucent clothing material and tried to suggest fashion design attempting mixture of new materials. As a result, firstly transparent image and material are well fitted in with modern trend and especially it was very suitable for expressing feminine beauty. Second, transparency was the element to suggest creative formative world in fashion design in regard to flower's beauty, various shapes and colors and to provide infinite materials as design motive. Third, the combination of knit clothing and plastic art flower displayed a new form of material combination. Especially as translucent material is fitted with trend such as function, lightness and variableness in modern times of the $21^{st}$ century, it presents beautiful combination with transparent flower. Fourth, Silk flower technique is variously used in art flower techniques. Various possibility ranges are presented such as flower was recreated with artificial image by silk flower technique to be newly expressed and various materials like aesthete film can be also expressed with silk flower technique.