• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.1
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• pp.147-158
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• 1999

This study focused on situational simularity of psychedelic expressed in the mid-1960s with culture including costume in the end of 20th century. So this study is composed of psychedelic concept and the comparision of temporal background and general characteristics of psychedelia in the 1960s and 1990s and relationship with Art-Nouveau which has originated psychedelia and psycheelic image including mysticism play illusionism and narcissism. The New psychedelic revival of the early 1980s came at a time when as in the mid-1960s the world's attentions were firmly focused on British youth. The same could be said of the mid-1990s when 'BriPop' once again has international appeal and the result has been a kind of New New Psychedelic revival with all manner of British youth styles from the 1960s blended together. The swirling patterns hallucinogenic colors and space-aged designs of the psychedelics have become a symbolic representation of cocktail of youth sex and optimism

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.3-12
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• 2006

The renaissance architects had considered perspective system as accurate tool for the visual representation, but Palladio did not agree with this belief and demonstrated that it is a system based on optical illusionism. On the base of this faith, he created another optical illusion system can be called 'scenographic space'. But the remainder of his works reveals many perspective installations mobilized as well as it. In this context, this study aimed to analyze the meaning and usage of these two space composition systems in the Palladio's architecture. For the purpose of it, a preliminary study examine the background of his idea and make a comparative analysis between the two systems, and then finally analyze the concrete works in compliance with the building types. And then, this study comes to the following conclusion. The scenographic space create the cognition of discontinuity which was produced by the perceptual mask perpendicular to the subject's eye. In opposition to it, the perspective techniques join the space between the subject and his outer world. In result, the viewer lost or attach his attention on the connection between the real and the virtual, the secular and the divine, and the inside and the outside. Palladio applied these two illusion systems to all types of his architecture. By means of it, he could achieve the desire of his patrons and reconstruct the classical architecture of the late renaissance age.

• Journal of the Korean Society of Costume
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• v.40
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.185-191
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• 2018

The digital technologies brought a structural transformation to cinema, have lead a change in the way of existence of an assembly of images called cinema, and have shared expression methods with new-media. To look into how in terms of cinema style of the film era and the digital era are different, this article will focus on the matter of 'indexicality.' From the point of view of perceptive realism the discourses on digital image deconstruct the dichotomy between illusionism and classical realism. Therefore the actuality of an image does not depend on only indexicality but has much to do with how the viewers fundamentally perceive the image. In this age of digital cinema it does not matter to distinct a composite-image from a reality-image. This article inquires the relation of indexicality, the world and digital images in digital cinema on the level of reception, and reconsider in terms of image production.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.146-154
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• 2010

Argument on the postmodernism of philosophy and history, epic and effect, and culture and art is becoming more ambiguous in scope due to digital technology development. Digital technology makes to change of aesthetic approach over the length and breadth of art and culture including medium art. Analysis of Digital images is changed from presence of images to feature analysis of images which is made by digital technology, and raise the question of how to analyze the images of reproducing digital technology focused on realism. Digital image, focused on hyper reality, should be approached not by film aesthetic approach but by shot unit. Due to emphasizes image reality reproduction by frame unit and not the short unit of the narrative approach, the artistic approach should differ from previous realism practice. Particularly, when considering movies which is focused on illusion, the realistic approach should be realized not in the of realistic approach in narrative aspect but in the aspect of realistic approach in painting aspect.

• Journal of Korea Entertainment Industry Association
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• v.15 no.6
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• pp.15-22
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• 2021

This study is aimed at suggesting a direction for the development of sensuous and creative art mask design by making art masks rooted in the aesthetic characteristics of psychedelia. The conceptual definition and characteristics of psychedelia were identified on previous studies, specialized books and works of art. The characteristics of psychedelia based on theoretical research were limited to illusionism, abstraction, play, and dynamism, which are often used in researcher's work, and four research works were produced by combining them with art mask design. By trying to diversify works regardless of form or tradition, this study could make the infinite creation of art mask possible and transform that into a new modern beauty. In addition, by expressing internal meaning along with external characteristics in the design of works, it could bring the establishment of a new perception and value of art mask. In the future, it is hoped that this study will be used as basic data for follow-up research related to art mask design and be helpful in the development of art mask design.

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.