• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.3
• /
• pp.185-199
• /
• 2004

This study is intended to examine Honore Daurnier's realism formativeness, review it in connection with socio-cultural conditions, analyze costume designs by a style of realism formativeness, in order to find the value. For the study, the procedure included the review of Daurnier's works and world, together with realism formativeness. Then, Daurnier's realism formativeness applied to costume designs were categorized and found the features of each style. Finally, it sought the implication of realism formativeness in costume designs. Honore Daumier, a realist of France in the 19th century, has been reputed that he pursues plain reality with a satire, uses all the conditions of humans as his object, and observes the vanity, desire, and foolishness of humans to represent his own expression techniques as cold as a stone. Realism formativeness is characterized by adherence to observing reality and engagement in reality, an effort to represent the world as it is as what we sense it without diluting or omitting it, nor any deception. The following terms can be used to describe the three styles of intentional recreation, satire on reality, and real existence; For intentional recreation in costume may be featured by the avant-garde, the pursuit of autonomy, reconstruction, rediscovery, recombination, reinterpretation, neutralized representation (reality ＋ the abstract), transformation, distortion, shock, and unexpectedness, etc. For satire on reality in costume, satirical criticism and mockery in a coexistence of time and space, dualism due to the combination of the exterior and the interior, reality reflecting the actual reality, and irony are those words. Real existence in costume may be described with objectivity, ordinariness, correctness of representing a theme, impersonality excluding subjectivity, clearness, certainness, and preciseness, etc.

• The Journal of Art Theory & Practice
• /
• no.6
• /
• pp.101-121
• /
• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• The Journal of Art Theory & Practice
• /
• no.7
• /
• pp.125-163
• /
• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.6
• /
• pp.1089-1095
• /
• 2023

Windows are essential and important architectural elements for the organization of architectural spaces, and they give character to the space and have a great impact on the reaction of users. Virtual windows are installed to activate architectural spaces such as underground spaces where windows cannot be installed, and to provide a sense of psychological security to users in hospital clinics, etc. In this study, we reviewed the literature and collected and analyzed the precedents of virtual windows to discuss the factors necessary to improve the realism of virtual windows. The factors that affect the realism of virtual windows are further grouped into five categories: 1. Use of reproduced images or videos for views, 2. Representation of temporality, 3. Responsiveness to changes in the observer's perspective, 4. Realistic reproduction of sunlight, and 5. Provision of non-visual sensory elements. Virtual windows are not just a replacement for traditional windows, but a way to realize a virtual environment using digital media, and it is necessary to expand the discussion to the realization of the virtual environment and the relationship with architectural elements.

• The Transactions of the Korea Information Processing Society
• /
• v.3 no.1
• /
• pp.95-106
• /
• 1996

The most fundamental difference between general three dimensional computer graphics technology and virtual reality technology lies in the degree of realism as we feel, and thus the virtual reality method heavily relies on such tolls as data gloves, 3D auditory system to enhance human perception and recognition. Although these tolls are valid for such purpose, more essential ingredient. This paper provides further realism by modeling active interactions between the objects inside scenes. For this purpose, this paper proposes and implements a field model where the virtual reality space is treated as a physical field defined on the characteristic radius of stimulus and sense corresponding to the individual object. In the field model, the rule of cause and effect as an essential feature of the realism can be interpreted simply as an energy exchange between objects and consequently, variation on the radius information together with behavioral logic alone can build the virtual environment where each object can react to other objects actively and controllably.

• Journal of Christian Education in Korea
• /
• v.70
• /
• pp.303-337
• /
• 2022

The purpose of this study is to realize Ontact PBL that can sufficiently contain interactive elements that can increase the perception of reality between professors and students in an environment without human contact. This is a class designed, developed, and operated ontact PBL for the first semester of 2021. As a result of diagnosing the realism of teaching and learning for students who took the class, the average teaching realism improved significantly by 0.95. This was found to be effective in improving the sense of realism in teaching as there were many related opinions in the reflective journal on students' classes. In addition, there was an effect on learning presence, and it was confirmed that emotional presence, which is a sub-element of learning presence, significantly improved by 0.7, social presence by 0.5, and cognitive presence by 0.6. Learning presence also confirmed the students' reflection on the class, and it was possible to judge that Ontact PBL was effective in improving the sense of presence.

• Journal of Broadcast Engineering
• /
• v.25 no.1
• /
• pp.113-116
• /
• 2020

This paper proposes a Quality of Experience (QoE) evaluation experiment to measure the effects of 360-degree video and sensory effects on the subject's degree of immersion, satisfaction, and sense of presence. The test subject responds to a questionnaire about the degree of immersion, satisfaction, and sense of presence after experiencing a 360-degree video accompanied by sensory effects while wearing a head-mounted display (HMD) with a scent diffusion device. As a result of the response analysis, it was confirmed that the proposed experimental method is suitable for measuring the subject's degree of immersion, satisfaction, and sense of presence about 360-degree video and sensory effects. On the other hand, inserting a gray screen for comparison experiments while watching a 360-degree video was found to cause a significant decrease in immersion and realism.

• Land and Housing Review
• /
• v.11 no.3
• /
• pp.93-101
• /
• 2020

Recently, as a BIM-based construction simulation system, 4D CAD tools using virtual reality (VR) objects are being applied in construction project. In such a system, since the expression of the object is based on VR image, it has a sense of separation from the real environment, thus limiting the use of field engineers. For this reason, there are increasing cases of applying augmented reality (AR) technology to reduce the sense of separation from the field and express realistic VR objects. This study attempts to develop a methodology and BIM module for the pre-construction verification system using AR technology to increase the practical utility of VR-based BIM objects. To this end, authors develop an AR-based drawing verification function and drawing object-based 4D model augmentation function that can increase the practical utility of 2D drawings, and verify the applicability of the system by performing case analysis. Since VR object-based image has a problem of low realism to field engineers, the linking technology between AR object and 4D model is expected to contribute to the expansion of the use of 4D CADsystem in the construction project.

• International journal of advanced smart convergence
• /
• v.7 no.3
• /
• pp.66-72
• /
• 2018

In recent years, indoor simulated sports have become widely used, and screen baseball system has emerged that can play baseball in indoor space. In this paper, we propose a virtual pitching system that can improve the realism of screen baseball game. This virtual pitching system is characterized in that it uses a transmissive screen in the form of a pitching machine without a pitching hole and installed on the back of the screen. Therefore, unlike existing systems where pitching holes are formed on the screen, it enhances the immersion feeling of displayed images. Also, in this pitching system, the synchronization algorithm between the pitching machine and the virtual pitcher is used to form a sense of unity between the virtual pitcher and the ball according to various types of virtual pitchers, thereby enhancing the reality of baseball games.

• Journal of Platform Technology
• /
• v.11 no.4
• /
• pp.13-18
• /
• 2023

3D content rendering is one of the important factors that give a sense of realism when creating content, and this process takes a lot of time. In this paper, we proposed a method to improve rendering performance by reducing the vast amount of 3D data in the web environment, and conducted a performance test using DEM and 3D model elevation data. As a result of the experiment, the digital elevation model showed faster performance than the Blender-based 3D modeling, but when the screen was moved using OrbitControl, the fps dropped momentarily. In the case of Terrain, if the range is limited to a speed that maintains 24 to 60 fps using frustum culling and LOD techniques, it is considered that a higher quality map can be produced than GeoTIFF.