• The Journal of Art Theory & Practice
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• no.6
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• pp.7-25
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• 2008

The following thesis has been composed with the inspiration attained from Paul Ardenne's conception on Contextual Art. In Europe and in the United States, there is a group of artists who emphasize in the importance of artist's participation in social, political, economical, environmental and moral issues. Since the 1960's, these artists have pondered on Modernism's ideas where art is contextually separated from humanly issues whereas the manners of such artists put on emphasis in the intent to participate in the real human social and ethical issues. Forerunner in this field of art such as Wolfgang Leib display hybrid or meta style in their work. His work displays a quadrilateral form of pollen which represents the simultaneous blending of two mixed ideas such as the abstract from the real. Thus heterogeneous style and philosophy which includes a range of medias and today's trend is observed in Contextual Art. Such art form is also found in landscapes where it is not seen as an observable object but rather an interactive object. It is correlated to Arte Povera of the Italian Art Movement, Support-Surface of the French Art Movement and lastly to the Fluxus. Through these art movements, we find a mutual antipathy towards putting art for sales in the capitalism market and reflect the social role of art in postmodern era.

• Journal of the Korean Institute of Intelligent Systems
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• v.13 no.4
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• pp.381-385
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• 2003

We suggest a method which reduces the search space of a model-base on multiple-view approach for polyhedral object recognition using the ART-1 neural network. In this approach, the model-base is consisted of extracted features from two-dimensional projections observed at the predetermined viewpoints of a viewing sphere enclosing the object.

• Journal of Science of Art and Design
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• v.9
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• pp.25-47
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• 2006

Amongst various methods of interpreting art, a understanding of the intention of artistic creation has been traditionally considered the most essential. Hermeneutics is the typical way of approaching it. With a focus on interpretation and understanding of the object, Hermeneutics delves into methodological techniques of interpretation and understanding of the existence of art from ancient Greece to the present. Nevertheless, from the Hermeneutic viewpoint, art as the object of interpretation is not free from social conditions and tradition; for this reason, interpretation of art basically has a socio-historical aspect. The starting point of this thesis is to examine the methods of understanding art from the socio-historical viewpoint. For this purpose, I study the theory of Hermeneutics as a basic of socio-historical interpretation of art, calling for methodology I need to justify inter-dependency of the epistemological viewpoint aid the ontological viewpoint in interpretation of art. Here, I suggest 'imputation(Zurechung)' and 'cycle(Zirkel)' as methodological concepts to support interdependency of these two viewpoints in Hermeneutics. Zurechung means explanation of meaning based upon the higher standard that includes to object of interpretation, while Zirkel means perception of part in order to understand the whole and, in turn, recognition of the whole in order to understand the part. These two concepts function inter-dependently in clarifying the object of interpretation and various problems of understanding human beings derived from it in the process of interpretation. This is also a key to the explanation that the object in social condition is closely related to historical perspective.

• 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.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.24-37
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• 2011

This study aims to figure out any possible expanded expression methods and diverse formative effects in fashion design by recognizing the importance of objects that suggest new paradigms as a means of expressing aesthetic consciousness in contemporary fashion and analogizing the formative characteristics of objects used in fashion and their significance. Accordingly, the study focuses on analyzing and interpreting objects introduced to fashion design with a formative view by substituting the concept of an object that has taken an important position in the contemporary arts for fashion. This study further aims to examine the concept of objects by trend and their characteristics within a syntactical structure and come up with a standard for classification of objects and a framework of analysis from cubism in the early 20th century when the concept of an object began to appear in arts to Dadaism, Surrealism, Pop art, Land art, Environmental art and the present time. Finally, the study aims to examine the status of objects in fashion and the relationships between fashion and objects through analyses on fashion objects and to suggest new perspectives and approaches to interpret the contemporary fashion in the 21st century.

• The Journal of Art Theory & Practice
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• no.2
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• pp.147-168
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• 2004

This study examined the role of interpretation with various practices in art museums to seek a new meaning and a concept of art museum today. The exploration of interpretation would he a starting point to discuss about on art museums with professionals in each art-related field. While museums recognize the concept of interpretation and the scope of the functions in different levels, the study focused on the practices of collecting and exhibiting that will entrust the museum new realms of activities toward the audience. In particular, its emphases are set force on the information on the collections via the museum's web sites, interpretation policies, and theories and methodologies in exhibition development. Art museum websites well reflect how museums utilize the new medium to enhance the understanding of art works by providing in-depth art historical information, comprehensive contexts, and subject/concept based search methods. In recent decades, these have enacted changes to expand dimensions of interpretive functions in most museums, particularly in the United States and others. In an administrative perspective, Tate Gallery Interpretation Policy became an good example how an art museum put its interpretation philosophy as the basis of interpreting collection and public programs. Tate established functions of intrepretation and education not only within a task-based team but also as an intrer-divisional coorperation to provide an interpretation scheme of information provisions such as guide brochure, audio tour, multimedia content, and library. New environment and trends of museum exhibition, and its development processes stem from communication theories, object interpretation philosophy, display strategies, and various evaluation techniques through audiences, with the communication theories of Shannon and Weaver, Berlo's SMCR(Source-Message-Channel-Receiver) models were perceived as to understand the mechanism to communicate museum exhibits to visitors Suzan vogel's insight into object display strategy helped to conceive the mechanism of object recontextualization. She emphasized that the museum's practice to construe opinions and impressions through object display should be discreet and critical, therefore, the professionals to plan the exhibition should reveal the intention and their practices. For a prevailing new methodology from the field, the interpretive exhibition development processes are articulated as the front-end, formative, and summative evaluation, futhermore the team process in industrial product management models was adapted. These have turned out to be more interactive with visitors and effective to communicate the exhibition concepts and messages, hence resulting in enriched museum experiences. Finally the study concluded that understanding the aspects of interpretation should help art museums to set a framework for current practices to expand its public dimension. It can provide curators with a critical view to website planning and its content. And obviously, the interpretive exhibition development methodology will lead museum exhibition developers to be skilled in its current approaches to thematic exhibition concerning diverse subjects and topics.

• Journal of Korea Multimedia Society
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• v.19 no.3
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• pp.673-679
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• 2016

Study the movement was formed and developed through the history of the birth of film and animation. The techniques of the immaterial object movement of in the media art which accompany movement have different operational and symbolic aspects with a film or a traditional(existing) animation. Focused on the works of media artist and want to study the movement of media art production methods.

• Journal of the Semiconductor & Display Technology
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• v.17 no.4
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• pp.101-104
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• 2018

Augmented Reality (AR) is an emerging technology and the applications of technology are still not fully unveiled. This paper explores a new application of augmented reality for new direction in art exhibitions, which aims to bring interactive learning experience to life. The project takes printed images on book or exhibiting arts to the next level by applying AR technology to provide a unique fascinating experience to its readers on mobile devices. AR technology composing with animation brings new digital entertainment experience to the user of art exhibitions. The key feature of this paper uses the technology presents auxiliary information in the field of view of an object on art exhibitions automatically without human intervention.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.5
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• pp.929-942
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• 2023

Web 3.0 enables people and machines to connect, evolve, share, and use knowledge on an unprecedented scale and in new ways, drastically improving our Internet experience. The metaverse is a collective, virtual shared space supporting all digital activities. Prompted by the rapid growth of digital art and digital fashion, this theoretical analysis explores using Jean Baudrillard's simulation concept to create unique digital art non-fungible tokens (NFTs), allowing them to express and communicate ideas like real-world art. Specifically, this study analyzes 120 digital fashion portraits of humans and animals and classifies them under three types of simulacra covering four stages of Baudrillard's simulation process. The result shows that NFT fashion artworks reflect the core features of a digital reality by connecting and transcending the boundaries of cultures, genders, and nationalities. However, in the final simulation stage (the fourth step), the simulacrum can only coexist in the virtual world as a hyperreal object (the Type III of simulacrum): an object more real than reality.

• Journal of Fashion Business
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• v.3 no.1
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• pp.159-175
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• 1999

In literature, a description of costume represents an individual's characteristics when the object is an individual. If the literary object is a certain group in a certain region, it would play an important role in representing the culture of time. It clearly shows that aesthetic consciousness of Hyo-Suk Lee who had accepted the western dandyism was well expressed in his literary works. Hyo-Suk has been unique in describing life-styles such as beauty of costume, art-for-art's sake, and leisure activities, and color imagery in his works. The color and the style of the costume show us the mental state of the wearer. They also affect the emotional states of other people. Hyo-Suk's "Pollen(화분)" and "Byukongmuhan(벽공무한)" confirm the fact that the mentality of the people can be hinted through the description of costume. They also ascertain that the color imagery retained by a special color can be altered by different circumstances and settings. Hyo-Suk applies in his works the effect of vivid color contrast, which newly appeared in Fauvism, to the description of costume. In consequence, he reflects the color aesthetics of Modern Art in which the fine art has an effect on the applied art.