• Trans-
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• v.13
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• pp.35-58
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• 2022

This study predicts the paradigm shift that the development of artificial intelligence technology will bring to the production of music content, and suggests that works created through collaboration between artificial intelligence and humans can have artistic value as finished products. Anyone can easily produce music content using artificial intelligence composition programs, and it has become an opportunity to inspire artists with various attempts and creative ideas. Although artificial intelligence technology provides convenience in human life and benefits a lot in the efficient aspect of work, it is difficult to escape the perception of data-based pattern music in the art field so far. Pattern music with many quantitative elements is not recognized as a complete creation due to the absence of abstract symbolism or meaning pursued by art. However, it predicts that if qualitative elements such as emotions and creativity are given to artificial intelligence music through human collaboration, it can be recognized as a complete work of art. The development of artificial intelligence technology increases access to culture and art from the public, and it can be expected that anyone can enjoy it as well as aesthetic experiences. In addition, various contents can be produced by improving individual digital literacy, and it is an opportunity to share and communicate with others. As such, artificial intelligence technology serves as a medium connecting the public with culture and art, and is narrowing the gap between humans and technology through art activities. Along with this cultural phenomenon, we predict the possibility of research on the production of artificial intelligence music contents with artistic value and the development of various convergence and complex art contents using artificial intelligence technology in the future.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.243-249
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• 2022

Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.155-160
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• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.37-45
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• 2019

The This study aimed at clarifying that the cognitive interpretation code is essential for college students to read the correct culture while discussing the producer's story production system for creative advertising content and the process of interpreting the meaning of advertisers and the formation of principles and beliefs. The production of advertising content aimed at persuasion should first identify anachronistic reason system based on the target audience's perception principle. A concise analysis of the experiment found key clues that confirmed that a sample of the producer's intended story would be inconsistent with the clues of information that a college student could remember. I have tried to organize a semantic analysis tool that combines these key clues and as a tool for reading culture of the right time for college students. As a result, university student inmates were able to identify one side of positive communication: reading a new cognitive symbol culture based on their subjective experience and beliefs, rather than analyzing cross-sectional analysis of the primary language and non-verbal expressions of their advertising contents. In the future, if an advertising content story producer works to identify such a process in advance, it will help persuade inmates.

• Korean Association for Visual Culture
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• v.23
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• pp.329-368
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• 2013

This thesis investigates the relationship of the 18^th century European landscape painting and the scientific (optical) instruments like Camera obscura and Camera lucida. Based on the fact that some landscape painters, 'veduta painters', at that times might have used or surely used these optical instruments in their sketches/drawings, it explores the reasons for using them and their working process with them, and analyses the advantages/disadvantages here as well as the aesthetic problems in the cases of the Italian painter Antonio Canaletto (or Canal, 1697-1768), the British topographic artist Thomas Sandby (1721-98) and the British chemist/optician Willian Henry Fox Talbot (1800-77). Advantages of using Camera obscura/lucida are rapidity in drawing, truthful representation of nature/reality and 'accurate' fulfilling of perspectival structures. But partly 'inaccurate' or simplified depictions as disadvantages can be traced in drawings/sketches made by using these instruments. Another problem lie in the subordination of the artistic work to the technical devices, but for artists still remain the creative working process in painting like coloring, tone and chiaroscuro etc. Therefore, it can be maintained that the optical instruments have played a role of the subsidiary tool as an aid to painting.

• (The) Research of the performance art and culture
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• no.19
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• pp.123-160
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• 2009

North Korea classify literature and art according to some concepts and standards. First, as concepts, North Korea classify Literature and Art in a species and a type. But in 1996, North Korea added third concept, a kind of Genre, Galae. This shows us that North Korea attempts to subdivide Literature and Art in classification. But there are not fixed contents in each type. So we can say that North Korea emphasis on principles of classification and at the same time they have a flexible attitude. Second, as standards, North Korea in 1987 used manner depicted, medium employed, capacity, a literary style, figured plot, quality and in 1992 used manner depicted, medium employed, object depicted, a mission, a function and in 1996 used manner depicted, medium employed, object depicted, a form of plot and in 2007 used manner depicted, medium employed, a scale and a capacity of work, a quality of materials and contents, emotional color of works, and so forth. So we can say that North Korea regard classification as an important thing as a basic work for developed Literature and art in future. And to South Korea, classification means that it could suggest a way for creative work for Literature and Art.

• The Journal of Art Theory & Practice
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• no.13
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• pp.73-95
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• 2012

In terms of element and process, art today has already been fully systemized, yet tends to become even more systemized. All phases of creation and exhibition, appreciation and education, promotion and marketing are planned, adjusted, and decided within the order of a globalized, networked system. Each phase is executed, depending on the system of management and control and diverse means corresponding to the system. From the step of education, artists are guided to determine their styles and not be motivated by their desire to become star artists or running counter to mainstream tendency and fashion. In the process of planning an exhibition, the level of artist awareness is considered more significant than work quality. It is impossible to avoid such systems and institutions today. No one can escape or be freed from the influence of such system. This discussion addresses a serious distortion in the selection system as part of the system connotatively called "art museum system," especially to evaluate artistic achievement and aesthetic quality. Called "studio system" or "art star system," the system distinguishes successful minority from failed absolute majority and justifies the results, deciding discriminative compensations. The discussion begins from work by Hunter Jonakin and Dan Perjovschi. The key point of this discussion is not their art worlds but the shared truth referred by the two as the collusive "art market" and "art star system." Through works based on their experiences, the two artists refer to these systems which restrict and confine them. Jonakin's Jeff Koons Must Die! is avideo game conveying a critical comment on authoritative operation of the museum system and star system. In this work, participants, whether viewer or artist, are destined to lose: the game is unwinnable. Players take the role of a person locked in a museum where artist Jeff Koons' retrospective is held. The player can either look around and quietly observe the works, which causes a game-over, or he can blow the classical paintings to pieces and cause the artist Koons to come out and reprimand the player, also resulting in a game-over. Like Jonakin, Dan Perjovschi's some drawings also focuses on the status of the artist shrunken by the system. Most artists are ruined in a process of competition to survive within the museum system. As John Burger properly pointed out, out of the art systems today, public collections (art museums) and private collections have become "something unbearable." The system justifies the selection system of art stars and its frame of reference, disregarding the problem of producing numerable victims in its process. What should be underlined above all else is that the present selection system seriously shrinks art's creative function and its function of generating meaning. In this situation, art might fall to the level of entertainment, accessible to more people and compromising with popularity. This discussion is based on assumption and consciousness on the matter that this situation might cause catastrophic results for not only explicit victims of the system but also winners, or ones defined as winners. The system of art is probably possible only by desire or distortion stemmed from such desire. The system can be flourished only under the economic system of avarice: quantitatively expanding economy, abundant style, resort economy in Venice and Miami, and luxurious shopping malls with up-to-date facilities. The catastrophe here is ongoing, not a sudden emergence, and dynamic, leading the system itself to a devastating end.

• Journal of Korean Library and Information Science Society
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• v.11
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• pp.69-99
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• 1984

A dramatic development in the new technology of copying materials has presented us with massive problems on reconciling the conflicts between copyright owners and potential users of copyrighted materials. The adaptation to this changing condition led some countries to revise their copyright laws such as in the U. S. in 1976 and in Korea in 1984 for merging with the international or universal copyright conventions in the future. Copyright defined as exclusive rights given to copyright owners aims to secure a fair return for an author's creative labor and to stimulate artistic creativity for the general public good. The exclusive rights on copyrightable matters, generally for reproduction, preparation of derivative works, public distribution, public performance, and public display, are limited by fair use for scholarship and criticism and by library reproduction for its preservation and interlibrary loan. These limitations on the exclusive rights are concerned with all aspects of library services and cause a great burden on librarian's daily duty to provide balance between the rights of creators and the needs of library patrons. The fair use as one of the limitations on it has been coupled with enormous growth of a new technology and extended from xerography to online database systems. The implementation of the fair use and library reprography in Korean law to the local practices is examined on the basis of the new American copyright act of 1976. Under the draft revision of Korean law, librarians will face many potential problems as summarized below. 1. Because the new provision of 'life time plus 50 years' will tie up substantial bodies of material longer than the old law, until that date librarians would need permissions from the owners and should pay attention to the author's death date. 2. Because the copyright can be sold, distributed, given to the heirs, donated, as a whole or a part, librarians should chase down the heirs and other second owners. In case of a derivative work, this is a real problem. 3. Since a work has its protection from the moment of its creation, the coverage of copyrightable matter would be extended to the published or the unpublished works and librarian's work load would be heavier. Without copyright registration, no one can be certain that a work is in the public domain. Therefore, librarians will need to check with an authority. 4. For implementation of limitations on exclusive rights, fair use and library reproduction for interlibrary loan, there can be no substantial aggregate use and there can be no systematic distribution of multicopies. Therefore, librarians should not substitute reproductions for subscriptions or purchases. 5. For the interlibrary loan by photocopying, librarians should understand the procedure of royalty payment. 6. Compulsory licenses should be understood by librarians. 7. Because the draft revision of Korean law is a reciprocal treaty, librarians should take care of other countries' copyright law to protect foreign authors from Korean law. In order to solve the above problems, some suggestions are presented below. 1. That copyright clearinghouse or central agency as a centralized royalty payment mechanism be established. 2. That the Korean Library Association establish a committee on copyright. 3. That the Korean Library Association propose guidelines for each occasion, e.g. for interlibrary loan, books and periodicals and music, etc. 4. That the Korean government establish a copyright office or an official organization for copyright control other than the copyright committee already organized by the government. 5. That the Korean Library Association establish educational programs on copyright for librarians through seminars or articles written in its magazines. 6. That individual libraries provide librarian's copyright kits. 7. That school libraries distribute subject bibliographies on copyright law to teachers. However, librarians should keep in mind that limitations on exclusive rights are not for an exemption from library reprography but as a convenient access to library resources.

• Journal of the Korean Society for Library and Information Science
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• v.28
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• pp.301-390
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• 1995

In this paper, I intended to study the policy executed by the king Sungjong(성종), the ruler of the early Chosun(조선) Dynasty, for the purpose of the training for the literary scholars under the diplomatic necessity and from his own interest in literature, and the compilation and the publication of anthologies of the famous civil officials in those days under the influence of this policy. The overall findings of the study can be summarized as follows : 1. Sungjong was comparable with the Sejong(세종) in his studiousness and especially, he was very interested in literature. He composed verses personally, showed them to his civil officials and demanded their poems in response to his own ones. Futhermore, he executed steadily the institutions of Eung-je(응제), Kaw-si(과식) and Weol-kwa(월과) that demanded creative writings from his civil officials. The purpose of these institutions which was propelled by the king Sungjong was the training for the literary scholars under the diplomatic necessity. 2. Chosun Dynasty exchanged envoys with Myeong(명) Dynasty during the time of the king Sungjong as many as 100 times. The training for the excellent literary scholars was nationally urgent problem because the competent literary scholars were needed whenever Myeong Dynasty dispatched the envoys to Chosun Dynasty. Eung-je, Kwa-si and Weol-kwa were executed from practical demand and 1 - 3 persons at the minimum, 60 - 70 persons at the maximum took part in this institution at a time. This means that 60 - 70 literary works were produced at a time. Therefore, the steady execution of Eung-je, Kwa-si and Weol-kwa inevitably resulted in mass production of literary works. 3. The king Sungjong instructed his civil officials to compile the anthologies of the then representative civil officials as a means to encourage literary compositions, read it himself and took actions to publish them at the expense of government. There were six anthologies compiled and published under this policy of the king Sungjong, Kang Heui­maeng's Sasukjejib(강희맹, 사숙제집), Shin Suk-ju's Bohanjaejib(신숙단, 보한제집), Kim Su-on's Shikujib (김수온, 식우집), Choe Hang's Taeheojeongjib(최항, 태허정집), Seo Keo-jeong's Sagajib (서거정, 사가집), Lee Seok-hyeong's Jeoheonjib(이석형, 저헌집). Yu Ho-in's Noekyejib(유호인, 뇌계집+CZ48), Lee Seung-so's Samtanjib(이승소, 삼탄집), Kim Jong-jik's Jeompiljaejib(김종직, 점필제집) of three were examined by the king Sungjong, but published later because of the death of the king. 4. jeompiljaejib was compiled by order of the king Sungjong and passed Eulram (을람 : king reads an anthology personally) which contained Joeuijemoon(조의제문) that criticized the king Sejo(세조) who had usurped a throne. The recording of Joeuijemoon became an issue in process of Muosahwa(무오사화), and it was ordered that the printing blocks should be broken and the published books should be collected and be burnt up. These procedures destroyed the social atmosphere that people considered it an honor writing literary compositions, compiling and publishing anthologies thanks to the steady efforts of the king Sungjong. 5. It had an important effect on the compilation and the publication of anthologies after that, breaking the printing blocks, collecting and burning up the pulished books of Jeompiljaejib because of recording of Joeuijemoon. Namely, it got universalized to delete compositions that can cause problems in the future as well as the parts related to political issue, from the objects of recording. Such tendency became one of the important principles of the anthological compilation after that.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.