• Trans-
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• v.12
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• pp.81-106
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• 2022

The possibility of metaverse system to be a catalyst for hyper-connected society will be dependent on the speed of connected technological development and its social utilization in the same manner as AI technology. Putting these technical realization processes in brackets, this paper focus on some philosophical-political issues in connection with cognitive-ecological changes in the future cinema which will be influenced by the complexive techno-socio couples of accelerated development of metaverse system. Generally speaking, essence of metaverse system seems to be the degree of immersion by technical accuracy, but is not true. In perspective of cognitive-ecology, flow degree of a picture or photograph is relied not on 'accuracy of representation' but on its message's contextual link-up. In this aspect, real potentiality of metaverse system shall be understood in the context of cognitive-ecological changes of human brain's multi-intelligence networking abilities(intersection of augmentation-simulation and outside-inside) which will be activated in the new structure of natural-social-technological coupling of metaverse system. These cognitive-ecological potentialities have been partially actualized in the cinematic process of tripod mimesis for the longest time, [real contradiction/conflicts (Mimesis-1) -->fictional solutions of cinema (Mimesis-2) --> selective interpretation of spectator's wish fulfillment (Mimesis-3) --> real change (Mimesis-1')]. Therefore metaverse's real potentiality must be considered to be dependent on the possibility of deepening and extending of cinematic circulation between real seperation/problems and ideal connection/solutions. In this context, advanced metaverse system can be compared as a modern technical version of ideal circulation of physics and metaphysics

• Journal of Broadcast Engineering
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• v.13 no.2
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• pp.274-282
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• 2008

In this paper, we propose from media production environment using meta-data based on advanced authoring format(AAF). The media production system becomes digitalized since the image degradation and data storage should be minimized. For transmitting various contents without loss of meta-data. Editing decision list(EDL)is used in the current broadcasting and cinema environment, which results in inefficient performance. We compared the proposed AAF with the existing EDL cut, and tested successful transmission of the metadata. Based on the experimental results, the proposed AAF contains more video information than EDL.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.75-86
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• 2018

Desktop Documentary is a new documentary mode which uses a screen capture technology to complete the multitasking process of the creator who searches in the Internet Open Archive instead of shooting with a camera and remixes the selected multimedia contents using a computer interface. In this paper, we explore the desktop documentary that transforms potential archives into database narratives in the new media environment, converts cinematic mise-en-$sc{\grave{e}}ne$ into computational mise-en-interface, and transcends the boundaries between creation and criticism through creative mechanism as curation through stream of consciousness. We also examine the concept, type and characteristics of the desktop documentary which emerges since 2010s as an experimental attempt of new media art, a new hybrid genre of mainstream horror film, a new mode of fiction film, a new mockumentary style, and a new form of video essay and audiovisual critique.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.51-60
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• 2008

This thesis sets out to study the immanent mechanism of architectural space which had been classified as external space in general. The mise en $sc{\acute{e}}ne$ could consider one among various immanent tools to deal with the singularity of interior architecture. An imaginary interrelationship between cinema and architecture offers a possibility which a mise en $sc{\acute{e}}ne$ could be used with a space making equipment. The mise en $sc{\acute{e}}ne$ is a conscious equipment to lead a meta-function of simple visual-perception. The mise en $sc{\acute{e}}ne$-space has been supposed to visual-perception cases and conscious cases in interior architecture. In particular, as a result of analysis, it becomes clear that the mise en $sc{\acute{e}}ne$-space is a kind of something signifer to expose designers's an abyss of conscious and unconscious. In my opinion, this is the very way that the contemporary interior architecture is exposed to its singularity by a mechanism of mise en $sc{\acute{e}}ne$-space. In conclusion, the psychoanalysis-frame of mise en $sc{\acute{e}}ne$-space has brought out any possibility of an interpretation about architectural immanent themes like a subject, meaning creation, and construction logic, and it has also been useful to reveal the architectural singularity.