• 한국연극학
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• 제52호
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• International Journal of Internet, Broadcasting and Communication
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• 제16권2호
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• pp.267-277
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• 2024

This paper explores the use of machine learning in game production to create goal-oriented, realistic animations for skeleton monsters. The purpose of this research is to enhance realism by implementing intelligent movements in monsters within game development. To achieve this, we designed and implemented a learning model for skeleton monsters using reinforcement learning algorithms. During the machine learning process, various reward conditions were established, including the monster's speed, direction, leg movements, and goal contact. The use of configurable joints introduced physical constraints. The experimental method validated performance through seven statistical graphs generated using machine learning methods. The results demonstrated that the developed model allows skeleton monsters to move to their target points efficiently and with natural animation. This paper has implemented a method for creating game monster animations using machine learning, which can be applied in various gaming environments in the future. The year 2024 is expected to bring expanded innovation in the gaming industry. Currently, advancements in technology such as virtual reality, AI, and cloud computing are redefining the sector, providing new experiences and various opportunities. Innovative content optimized for this period is needed to offer new gaming experiences. A high level of interaction and realism, along with the immersion and fun it induces, must be established as the foundation for the environment in which these can be implemented. Recent advancements in AI technology are significantly impacting the gaming industry. By applying many elements necessary for game development, AI can efficiently optimize the game production environment. Through this research, We demonstrate that the application of machine learning to Unity and game engines in game development can contribute to creating more dynamic and realistic game environments. To ensure that VR gaming does not end as a mere craze, we propose new methods in this study to enhance realism and immersion, thereby increasing enjoyment for continuous user engagement.

• 만화애니메이션 연구
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• 통권39호
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• pp.59-83
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• 2015

라틴 아메리카에서 꽃피우고 발전한 마술적 사실주의는 이성주의와 합리주의에 입각한 과거의 인식틀을 벗어나 현실에 대한 새로운 시각을 열어주었다. 마술적 사실주의는 환상적인 요소를 이용한다는 점에서 다른 비현실적인 문학담론과 공통점을 가지고 있지만, 현실과 맺고 있는 관계에 집중하고 현실을 더 강렬하게 경험하게 한다는 점에서 초현실주의나 환상문학과 다르다. 마술적 사실주의는 라틴아메리카의 문학을 중심으로 나타난 특징으로 제한되고 연구되었던 초기의 한계를 넘어 포스트모더니즘의 기획 안으로 확장되고 있다. 최근 마술적 사실주의의 영향력은 문학이나 미술에서 뿐 아니라 영화와 애니메이션에서도 발견된다. 그러나 아직 국내에서 애니메이션에 대한 마술적 사실주의에 대한 연구된 바가 없다. 이와 같은 상황에서 국제 페스티벌을 통해 여러 차례 수상하고 호평을 받았던 국내 독립 애니메이션 <무림일검의 사생활>에 나타난 마술적 사실주의에 대한 연구는 시기적으로 늦은 감이 없지 않다. 본 논문은 국내 독립 애니메이션 <무림일검의 사생활>을 분석할 때 내러티브와 이미지의 두 가지 측면에서 접근하였다. 내러티브 전개 방법에 대하여 형식적인 면을 먼저 살펴보고 그에 따른 내용적인 면에 대하여 분석하였고, 이미지는 배경과 캐릭터를 각각 나누어 살펴보았다. 이 작품은 내러티브를 전개할 때 메타픽션적 화자를 통해 환상적 요소와 주인공의 심리에 대하여 내레이션을 이용함으로써 공감대를 넓히고 있다. 작품을 통해 전달하고 있는 이야기는 혜미와 진영영의 러브스토리이지만 마술적 사실주의의 특징은 관객으로 하여금 러브스토리에 머물러 현실을 잊어버리게 만들지 않는다. 진영영을 통해 한국 현실을 살아가는 88만원 세대의 삶의 고민에 동감하게 된다. 작품의 배경 이미지에 한국의 랜드마크를 그려 실재하는 공간을 재현함으로써 미메시스적 현실을 구축하고 있다. 또한 캐릭터 이미지는 한국에서 일상적이며 가장 흔한 기계인 자판기와 환생한 무림의 고수의 두 가지 상반된 특징을 가진 혼종적 캐릭터로 드러내고 있다. 이와 같이 <무림일검의 사생활>의 내용과 형식, 이미지에 한국적인 마술적 사실주의의 특징이 드러난다는 것을 알 수 있었다. 마술적 사실주의의 특징을 효과적으로 담고 있는 구체적 사례인 <무림일검의 사생활>을 분석함으로써 환상의 요소 및 교정된 미메시스를 극적 장치로 사용하는 방법을 모색하고 관객의 폭넓은 공감을 유도하기 위한 한국애니메이션에서의 마술적 사실주의 적용 가능성에 대하여 살펴보았다.

• 영미문화
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• 제9권1호
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• pp.163-184
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• 2009

Sherman Alexie deals with reservation realism in The Lone Ranger and Tonto Fistfight in Heaven and Smoke Signals. By reservation realism he means American Indian traditions and its problems like alcoholism, violence, unemployment, depression, and poverty on the reservation. It cannot be denied that the traditional ceremonies have played significant roles in making it possible for American Indians to keep their own ethnic identities. It is, however, also true that the same traditions have prevented them from embracing modernity. Alexie believes that it is high time that Indians living on the reservation discarded the old tradition of racial exclusiveness for a gradual crossing of cultural borders. What is seriously needed on today's reservation is not the historic figure of Crazy Horse, a stoic and masculine warrior in the late 19th century, but Sacagawea, a Shoshoni Indian who helped Meriwether Lewis and William Clark to explore the American West in the early 19th century. When asked to be more specific about cross cultural examples, Alexie proposes successful Indian doctors and lawyers as role models on the reservation.

• 복식
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• 제61권7호
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• 한국CDE학회논문집
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• 제12권2호
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• pp.126-136
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• 2007

Teleconferences have been used in business sectors to reduce traveling costs. Traditionally, specialized telephones that enabled multiparty conversations were used. With the introduction of high speed networks, we now have high definition videos that add more realism in the presence of counterparts who could be thousands of miles away. This paper presents a new technology that adds even more realism by telecommunicating with hand gestures. This technology is part of a teleconference system named SMS (Smart Meeting Space). In SMS, a person can use hand gestures to manipulate meeting data that could be in the form of text, audio, video or 3D shapes. Fer detecting hand gestures, a machine learning algorithm called SVM (Support Vector Machine) has been used. For the prototype system, a 3D interaction environment has been implemented with $OpenGL^{TM}$, where a 3D human skull model can be grasped and moved in 6-DOF during a remote conversation between distant persons.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 한국융합학회논문지
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• 제9권7호
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• pp.185-191
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• 2018

프레임에서 픽셀로의 전환은 영화가 기술적 차원에서 거대한 전환을 이룬 것뿐만 아니라 영화언어 차원에서 근본적인 변화를 보여준다. 필름시대와 디지털 시대를 정의하며, 필름 시대의 영화와 디지털 시대의 영화가 스타일 차원에서 어떻게 구분되는가를 살펴보기 위해 본고는 지표성의 문제에 초점을 맞춘다. 지각적 사실주의 입장에서 보자면, 디지털 이미지에 대한 담론은 환영주의와 고전적 사실주의의 이분법적 구분을 해체한다. 이에 따라 이미지의 현실성은 지표적 차원에만 의존하지 않으며, 보다 근본적으로 관객이 어떻게 지각하느냐 하는 수용의 관점에서 고려되어야 한다는 결론이 도출된다. 디지털 시네마 시대에는 효과로서의 수용성이라는 차원에서 디지털 시네마의 지표성과 세계, 그리고 디지털 이미지 간의 관계에 대해 검토하는 작업을 해야 하며, 또한 이미지 생산의 관점에서 재고찰해야 할 것이다.

• 복식
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• 제67권1호
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• 한국정보시스템학회지:정보시스템연구
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• 제16권4호
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• pp.131-155
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• 2007

The purpose of this thesis is to study on the philosophical analysis model and its methodological application of information systems research evaluation from critical realist perspective. Fist of all, I examine ontological epistemological methodological assertions of critical realism. Because the philosophy of critical realism is an opportunity for information systems study. I examine Dobson and Mutch's critical realist perspective on actors-structure model. I suggest a critical realist actors-praxis-structure model. This model provides the potential for a new approach to social investigations in its provision of an ontology for the analytical separation of structure and agency. Of most importance might be the incorporation of non-humans into the analysis of social interaction and of technology into the elaboration of structures. I also examine Tsoukas's critical realistic meta-theory of management. I suggest a critical realist IS management model. This model elucidate the nature of management and delineate the scope of applicability of various perspectives on management. The causal powers of management reside in the real domain and, taken together, their logics are contradictory, the effects of their contradictory composition are contingent upon prevailing contingencies. I analyze Carlsson's theory of design knowledge. His framework builds on that the aim of IS design science research is to develop practical knowledge for the design and realization of different classes of IS initiatives, where IS are viewed as socio-technical systems and not just IT artefacts. The framework proposes that the output of IS design science research is practical IS design knowledge in the form of field-tested and grounded technological rules. The IS design knowledge is developed through an IS design science research cycle. In conclusion, I think that IS actors-praxis-structure model, meta-theoretical IS management model, and IS design knowledge model according to critical realistic approach are very useful for IS research evaluation. Nevertheless, important problems are left not resolved.