• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.71-92
• /
• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.1009-1014
• /
• 2009

Meta-thinking is a kind of thinking beyond certain scope or border, which sees objects as an expanded definition exceeding its essence. It can be experienced when people come into contact with new things. As for digital media, experience acquired from computer screen makes users' thinking be changed continuously and help their thinking to be expanded. Today, studies on development of digital technology regarding virtual reality (VR) and experience obtained from digital media become a topic of conversation, however, this experience depends on the sense of sight through screen. Actually, transparent experiences in digital media are not the same with those in real world, therefore, this study investigated experience expansion through interaction with real things which are much closer to daily lives than virtual experiences. It can be found in media art which induces positive participation of audiences and shows them a new meaning through delight and amusement experienced in the process of interaction. Visual expression in digital media should be more than spectacular which is only full of excessive images. In addition, interface should not be remained as an expression from technological attempts, instead, it is necessary to find humans aspiration with meta-thinking which accepts things expansively and visualize their experiences.

• Asia-Pacific Journal of Business
• /
• v.13 no.3
• /
• pp.157-170
• /
• 2022

Purpose - The purpose of this study is to understand the motivating factors of Chinese audience who watch the interactive drama, and suggest the effects of audience' motivation on viewing flow, satisfaction, and loyalty. Design/methodology/approach - To achieve the purpose of the study, a questionnaire survey on the Internet was conducted from September 26, 2021 to October 14, 2021, and data from 332 Chinese respondents were collected. Findings - Findings of this study are 1) audience motivation of watching the interactive drama is composed of 6 factors including the pursuit of entertainment and information, curiosity, interaction, sense of control and indirect experience; 2) the pursuit of entertainment and information, interaction and indirect experience have positive effects on viewing flow; 3) all six factors of audience motivation have positive effects on audience satisfaction; 4) four motivating factors including the pursuit of entertainment, curiosity, interaction and indirect experience have positive effects on audience loyalty. 5) viewing flow and audience satisfaction respectively has some partial mediating effects on the relationship between audience motivation and audience loyalty. Research implications or Originality - Results of this study suggest that in order to increase audience loyalty to interactive dramas, in addition to fulfilling the pursuit of entertainment, which is the basic motive for watching any drama, it is important to fulfill motivating factors related to the unique characteristics of interactive dramas such as curiosity, interaction, and indirect experience. In order for these motivating factors to lead to audience loyalty, it is more effective when viewing flow and audience satisfaction are accompanied.

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.297-320
• /
• 2015

Modern technology in the development and convergence of art brought the rapid development of the media arts actively accommodating 'media art' digital media. It has to go to expand the area and limitations as a basis of communication in the 21st century, a new artistic creativity, through the gathering of the existing chain of modern digital mobile technologies and new genre public art that is based on interactive communication break down the boundaries between sectors It has evolved into. This fusion of high technology and the art of mobile interactive media art is to overcome the limitations of time and physical space, as an active subject of interaction and participation, and expanding the range of experiential communications, such as art and science, cultural industries giving provides a flexible platform for a variety of applications. This study presents an expanded paradigm of the new communication and interactive media that define the reporting year review through the literature on art, experiential mobile communications through a case study of mobile interactive media art that is used as a medium of artistic expression the interactive effect was analyzed as a possible new public art. Convergence and interactivity, mobile interactive media art as a buzzword experience has proposed a new approach to high-tech and art and meet the new sensibility of our life and communication, unlimited possibilities worthy of the contemporary trend of convergence and consilience with a new art genre is expected to continued to evolve and develop.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.4
• /
• pp.291-301
• /
• 2023

The purpose of this study is to examine the perception of early childhood teachers on ecological art activities oriented to education for sustainable development. The research results are as follows. First, Early childhood teachers recognized the visual art of natural media, the pursuit of community values, and the participation and communication of social members as educational significance of ecological art activities. And difficulties in practicing ecological art were recognized as lack of educational environment, lack of ecological art teaching materials and specific examples, and teachers' lack of understanding of ecological art. Also, they recognized that ecological art activities foster core competencies in art experience area, such as nature-friendly communication skills, eco-friendly sensibility, and creative convergence skills. Second, regarding ecological art activities and sustainable development education, early childhood teachers considered the difficulties in practice as lack of awareness about sustainable development, lack of play meia and materials, lack of educational policies and support, and insufficient teacher training programs. Also, regarding the SDGs that can be practiced in ecological art activities, teachers were found to be highly aware of 'grow affordable and clean energy', 'improve clean water and sanitation', 'provide quality education' in the order. In the contents of education for sustainable development that can be practiced in ecological art activities, teachers are given the order of 'climate change response', 'clean energy', 'water and sanitation', 'quality education', 'health and well-being' and 'marine ecosystem'. was highly recognized. If an ecological art activity program is developed, the rate of responding that it will be used is high, so it is considered that the development of an ESD-oriented ecological art activity program is urgent.

• 한국문화재보존과학회:학술대회논문집
• /
• 2005.11a
• /
• pp.154-159
• /
• 2005

The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.

• Journal of The Korean Association of Information Education
• /
• v.9 no.2
• /
• pp.221-228
• /
• 2005

The art appreciation education is emphasized to develope independent thought and upright value decision in the flood of various image medium. A experience of beauty and a express part related with the sentimental field is focused on directing in the seventh arts curriculum, too. Although the art appreciation education is emphasized, just expressive and functional art texture is still taught in the education spot up to now. Also a appreciative activity is limited simply to describe own feeling intuitionally ; time shortage, difficulty of analysis product, difficulty of guiding appreciation. In this paper I refer that analyze figurative factors of a art product, modify it by applying other program, compare with it and then I develope web base art appreciation system and apply it. As a result I get educational effect. When checking line, form, light and darkness, color, feeling, space and composition of external some factors in a product, formative sense and analytical appreciation is improved.

• The Journal of Art Theory & Practice
• /
• no.9
• /
• pp.151-170
• /
• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• Korean Institute of Interior Design Journal
• /
• v.22 no.1
• /
• pp.231-238
• /
• 2013

As the technical medium evolves, the method of accepting information is changing. The technical medium also appears in various ways through the combination with art. This study aims to conduct research on how hypermedia, appearing from this, will reveal itself in the urban public design in terms of its expression mode. First, this study looks at the characteristics for expression representation of hypermedia art through theoretical considerations on the hypermedia. Second, this study identifies how hypermedia art is introduced in the urban public design through art cases. Third, this study reveals the characteristics depending on the expression mode of hypermedia art shown in the urban public design based on the analyzed cases. As a result, first, hypermedia appeared in various image lighting expression modes that use 'light' in the urban public design and interacted with the public. Second, hypermedia reacted to 'motion' and was the expression mode of using bodies in the urban public design and using peripheral devices and external environment and characterized by having complex patterns of multi-layered structure through multi-media. It also applied sight, hearing, and touch partially or integratedly to attract synesthesia from the public and checked mutual interaction rapidly in an improvised way. Third, such a complex digital technology was the network expression mode beyond space and time by medium of urban public design and characterized by the new experience of virtual space expansion through the world wide network and the communication mode of participation. With such a role change of media and combination with art, hypermedia has been achieving varied extended representations. It is considered to change our monotonous urban environment, restore our relationship with the public, and open a new field of communication. Accordingly, the significance of this study can be identified through how it aimed to display the expression method of hypermedia which caused its extension in the field of urban public design as well as through the derivation of relevant characteristics.

• Journal of the Korea Convergence Society
• /
• v.10 no.7
• /
• pp.141-147
• /
• 2019

Recently, with the development of new technology, media arts in public places have been installed in various forms. Especially, the installation of media arts at the airport is increasing, and it is time to study this. Therefore, this study investigated cases of media art at Incheon International Airport and suggested improvement direction. As a result of analyzing the case of media art in Incheon Airport is follows. First, the airport media art in the future should develop an interactive work that more audience can participate and provide pleasant experience. Second, the contents of the airport media art should be produced not only in various kinds but also as contents representative of the country. Third, it should be produced as a content that can convey the characteristics and images of the country in a storytelling format rather than a short and simple media art collection.