• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.459-473
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• 2019

This study analyzes a new aesthetic value of fashion design utilizing media art technology based on Marshall McLuhan's media theory, vitalize a creative fashion design by applying media art technology into traditional fashion design and discover the possibility of various formative expressions. The result of the analysis under the three criterion extracted through the examination of other art genre such as dance, music, architecture and painting are as follows. First, new concept clothing was designed in the way of combining science and technology with existing costume designs. Second, applying technology based media art images on clothes has been noticeably effected by changes to clothing surfaces. Third, fashion design using technology based media art stimulates the five senses and creates new communication structures. In conclusion, this study reveals that fashion design utilizing technology based media art, an innovative medium for future fashion development in digital society, has expanded the boundaries of fashion design beyond limits and contributed to diversity in creative fashion design.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.290-302
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• 2024

The collaboration between art and fashion goes beyond simple marketing strategies and creates new cultural and aesthetic values through the fusion of the two art forms. This collaboration enhances the brand's image and value, provides consumers with new aesthetic experiences, and provides artists with the opportunity to publicize their works. Fashion can also break away from the existing stereotyped patterns and express the zeitgeist contained in modern society in a much more diverse way through collaboration with works of art, which has cultural and social significance. Therefore, the purpose of this study is to rediscover the meaning of fashion in art based on human life and the spiritual world, and to explore how fashion is expressed as a cultural code in modern society. In the past, most of the views looked at the relationship with art as fashion was the subject, but this paper focused on analyzing the interaction between fashion and art from an artistic point of view. This effect could be demonstrated through the analysis of the convergence case of fashion and art. It is expected that various forms of collaboration will continue in the future, especially fashion, which is based on the researcher's abstraction of color, absorbs and inspires each other's elements, and is related in various aspects such as color symbolism, emotional expression, and design composition principles.

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

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.553-563
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• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.215-222
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• 2022

This study summarizes the basic concepts of NFT art and analyzes trends in the domestic and international NFT market to provide a better understanding of the art form to suggest various ways to utilize the art in near future when social interests in technologies such as metaverse, block chain, and NFTs are continuously increasing. In addition, by examining the rapid development and process of blockchain technology in overseas markets, and confirming cases of information transfer to various metaverses such as cryptocurrency and NFT technology, the aim is to present a foothold for the future direction of national arts in general. To this end, in order to analyze consumers' perceptions and preferences, and to draw conclusions about current NFT arts at home and abroad, a survey was conducted on NFT awareness among participants of an art fair in Gwangjin-gu, Seoul. It is hoped that this study will become a cornerstone of research on NFT works and NFT art industry, which is becoming a global issue.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.169-184
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• 2021

Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.89-92
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• 2007

Media art has been differentiated and evolved depending on the development of digital technology and the growing of pop culture. Finally experiential ways, which make much of communication with human beings, bring themselves into relief in media art, and these various ways broke lines between virtual reality and reality with the elevation of digital technology, and that has a direct effect on expressing actual space. For this reason, diversified expressions of media art can be an important guideline for studying how to express modern space. This research analyzes expressing features in media art establishing a link with modern industrial interior space and offers new future-oriented space.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.199-204
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• 2023

"New Dimension Art" is an artistic concept of the new era that the author puts forward by combining the background, the artistic environment and the artistic market.It relates to the consciousness of thought, the way of feeling, the form of expression and even the style of language in artistic creation.The author expounds this concept of art.At the same time, this paper deeply studies the characteristics of "new dimension art" by analyzing personality and commonality, as well as the creator's personality transformation.The author hopes that he and more artists can create and express more accurately through this concept, so that his works can fully reflect the author's individual characteristics and release more dimensional field energy. We are confident that this paper will affect the area of painting in the future.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.513-518
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• 2006

본 논문에서는 특별한 스튜디오 조명이 아닌 가정용 혹은 학교용 조명 하에서 동작하는 감정 표현이 가능한 그림자 놀이 도구를 소개한다. 이 놀이는 사용자의 실사로부터 추출된 가상 그림자에 사용자의 동작에 따라 실시간으로 반응하는 가상 표정 애니메이션 캐릭터를 투영한다. 이 놀이 도구는 행위전시 등의 공연 환경뿐만 아니라 가정, 학교 등의 일상 환경에서도 동작이 가능하도록 설계되었다. 따라서 가장 일반적인 조명의 하나인 가정용 형광등과 백열등 환경을 가정하였고, 배경에 대해서는 어떤 제약도 가정하지 않았다. 사용자의 실사를 구분하는 과정에는 배경 차분화 기법을 사용하였고, 빛의 산란 및 실제 그림자의 영향 등으로 인한 잡음을 최소화하기 위해 몇 가지 잡음 제거 알고리즘을 결합하여 적용하였다. 이 도구에서 가상 그림자의 표정 애니메이션은 사용자의 손동작에 따라 변화하며, 손동작 및 머리 위치의 추적을 위해 새로이 고안한 자질 기반 추적 기법을 적용하였다. 이 도구는 공연장에서의 인터렉티브 미디어 아트 전시 또는 공연, 아동 대상의 미술 교육, 예술치료 등의 분야에 활용될 수 있을 것으로 판단된다.