• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.353-367
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• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

• Journal of Digital Convergence
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• v.14 no.5
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• pp.85-93
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• 2016

Convergent education is essential to develop consilient thinking skills, ability to recreate information and knowledge, and problem-solving skills which are demanded in society of convergent knowledge. Accordingly, this study is going to develop a convergent class model of augmented reality and art based on consilient knowledge. Teaching model is designed based on the ADDIE model, which was operated by opening a real class in order to verify the validity. The result showed a high satisfaction of learners showed the ability to adapt to the major areas associated with the cultivation of learners. Characteristics of augmented reality medium were found to enable learners to analyze a new phenomenon and to fuse the necessary knowledge by inducing them to actively interact by the their intention in learning. Therefore, it is possible to cultivate creative and convergent persons of ability equipped with more flexible and creative thinking ability and discernment through deepened education for recognizing and understanding convergent cases between art and scientific technology. There is a study on the validation and the convergence of different subjects in terms of a variety of aspects, left behind of this study.

• The Journal of Korean Philosophical History
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• no.39
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• pp.221-235
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• 2013

Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

• Trans-
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• v.12
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• pp.1-19
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• 2022

This study predicts and raises the changes that AI will bring to dance art when machine-based choreography began, and finds questions we can ask as human artists. Research suggests that one of the crises of dance in the era of machine creative arts is that artificial intelligence does not stay in the tool of human choreography but becomes the subject of choreography. It is based on the political discourse of choreography that artificial intelligence has the power to control and restrict human dancers. This comes from a sense of crisis that the AI takes over the area of choreography and the human choreographer remains an incompetent coordinator, and as a result, the dancer's dancing body can be reduced to a mechanical body controlled by AI. In order for these concerns not to become a reality, this study proposes three measures. First, choreographer and dancer should develop digital literacy to live in the age of AI art. Secondly, choreographer should acquire the ability to accurately distinguish the roles of human choreographer, dancer, and AI in creative work. Thirdly, various levels of discourse on AI dance should be formed by actively conducting mutual media research of dance and technology. Through these efforts, the human dancer will exist as a subject of art, not a passive agent in the new dance ecosystem brought by the innovation of artificial intelligence technology and will be able to face an era coexistence with artificial intelligence creativily and productively.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.163-174
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• 2020

The purpose of this study is to derive the characteristics of the creative process of convergence performing arts. Therefore, the PADAF-Play and Dance Art Festival, a representative convergence performing arts festival in Korea that has been held steadily every year since the first event in 2011, was selected as the subject of the study. Through PADAF, a representative convergence performing arts festival in Korea, qualitative case studies were selected through process-oriented discovery to study the characteristics of the creative process of convergence performing arts, which is a key feature of performing arts in the 21st century. For realistic and empirical research, the 8th and 9th PADAF participated in the entire process from the initial stage of preparation to the closing ceremony and conducted several in-depth interviews with PADAF officials and participating artists. Looking at the characteristics of the convergence performance art creation process through PADAF, creators overcame difficulties that they had not thought of in different ways in the process of meeting different heterogeneous genres, but through understanding other genres, experiential values through convergence, sharing as collaborators, and various ways of communication. The characteristics of the convergence performing arts creation process, which is focused on PADAF, are "Rhizom thinking" by French philosopher Gilles Deleuze(1925-1995), "Collective intelligence," and "Experimental Value for Experimental Creation" by creators. Through this derivation, we will help the changing performing arts scene based on the basic human desire to understand convergence performance art a little more and communicate through the extended expression of convergence.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.53-60
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• 2020

The study is based on the assumption that the trend of phenomena and trends in research are contextually consistent. Therefore the purpose of this study is to explore the trend of dance through the subject analysis of the Korean creative dance study by utilizing text mining. Thus, 1,291 words were analyzed in the 616 journal title, which were established on the paper search website. The collection, refining and analysis of the data were all R 3.6.0 SW. According to the study, keywords representing the times were frequently used before the 2000s, but Korean creative dance research types were also found in terms of education and physical training. Second, the frequency of keywords related to the dance troupe's performance was high after the 2000s, but it was confirmed that Choi Seung-hee was still in an important position in the study of Korean creative dance. Third, an analysis of the overall research subjects of the Korean creative dance study showed that the research on 'Art of Choi Seung-hee in the modern era' was the highest proportion. Fourth, the Hot Topics, which are rising as of 2000, appeared as 'the performance activities of the National Dance Company' and 'the choreography expression and utilization of traditional dance'. However, since the recent trend of the National Dance Company's performance is advocating 'modernization based on tradition', it has been confirmed that the trend of Korean creative dance since the 2000s has been focused on the use of traditional dance motifs. Fifth, the Cold Topic, which has been falling as of 2000, has been shown to be a study of 'dancing expressions by age'. It was judged that interest in research also decreased due to the tendency to mix various dance styles after the establishment of the genre of Korean creative dance.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.75-91
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• 2003

This study analyzed descriptions about dots, lines, and sides which are used as a basic elements to express geometric figures as followings: -In the aspect of formative art, dots form images and feelings through their concurrence when make a slight move to coordinates. The concurrence can bring out either positive or negative images; -Lines have unlimited variation as a core measure in body art. They can make optimal effects with different lines such as straight and curved lines of human body; -Sides express not only effects of texture and perspective but also of space and solid by color effects. Expressive characteristics and geometric shapes can be classified by tattoo, henna and body painting: First, colorful tattoos are favored by Caucasian and original tattoos are mostly used by yellow and colored races in the way of scarification to get decorative effects. Recently, a rapid cycle of fashion change in tattoo figures has developed a tentative method of tattooing and a variety of decoration methods. It has made it a lot easier to change a pattern of a tattoo. Tattoos are now popular among people because they no longer have to suffer from pains when they get their body tattooed for a long time. Since tattoos boast their unique beauty which consists of most dynamic and attractive images among the types of body art. It will be one of the most favored make-up methods in the nearest future. Second, geometric designs used in henna include crosses, dots, straight lines, triangles, date palms, and so on. Henna has been particularly loved as an instant decoration by the public since it gradually disappears as time goes on. Third, body painting enables to draw a three-dimensional effect because of its close relation with body movements in a limited space. Each individual will have a different feeling appealed in their body painting. Body painting has been applied to many different areas, especially to theatrical art using lights, music and performance altogether producing impromptu and experimental works. Unlike other arts such as painting, sculpture, visual and industrial arts, body painting has mobility. Since it is painted on a three-dimensional human body, it can bear originality expressing realistic objects or animals and strengthen creative functions using body lines. Moreover, geometric designs can be diversified by the sexes. As a result of analysis, geometric designs expressed in body art seemed to transcend expressions of beauty and turned out to be another way of decoration. Body art has also been used as a way to express visual integration and consolidation dynamically not by human instinct but by social changes. The needs for body art will grow as the future comes nearer and be recognized as a new and fresh value. Formative elements of geometric figures deliver visual impressions combined with human body and finally create more various types of body art in harmony of body lines.