• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of KIISE:Computing Practices and Letters
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• v.9 no.3
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• pp.322-331
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• 2003

As the complexity of a 3D game is increased by various factors of the game scenario, it has a problem for controlling the interrelation of the game objects. Therefore, a game system has a necessity of the coordination of the responses of the game objects. Also, it is necessary to control the behaviors of animations of the game objects in terms of the game scenario. To produce realistic game simulations, a system has to include a structure for designing the interactions among the game objects. This paper presents a method that designs the dynamic control mechanism for the interaction of the game objects in the game scenario. For the method, we suggest a game agent system as a framework that is based on intelligent agents who can make decisions using specific rules. Game agent systems are used in order to manage environment data, to simulate the game objects, to control interactions among game objects, and to support visual authoring interface that ran define a various interrelations of the game objects. These techniques can process the autonomy level of the game objects and the associated collision avoidance method, etc. Also, it is possible to make the coherent decision-making ability of the game objects about a change of the scene. In this paper, the rule-based behavior control was designed to guide the simulation of the game objects. The rules are pre-defined by the user using visual interface for designing their interaction. The Agent State Decision Network, which is composed of the visual elements, is able to pass the information and infers the current state of the game objects. All of such methods can monitor and check a variation of motion state between game objects in real time. Finally, we present a validation of the control method together with a simple case-study example. In this paper, we design and implement the supervised classification systems for high resolution satellite images. The systems support various interfaces and statistical data of training samples so that we can select the most effective training data. In addition, the efficient extension of new classification algorithms and satellite image formats are applied easily through the modularized systems. The classifiers are considered the characteristics of spectral bands from the selected training data. They provide various supervised classification algorithms which include Parallelepiped, Minimum distance, Mahalanobis distance, Maximum likelihood and Fuzzy theory. We used IKONOS images for the input and verified the systems for the classification of high resolution satellite images.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.3
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• pp.91-104
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• 2009

This paper attempts to look at the identity of the traditional famous sceneries of Jeju Island by investigating the relationship between 'Yeoung Ju-Sipikyung(瀛州十二景)', which are the representative beautiful scenes of Jeju Island, and two paintings 'T'amna-Sipkyungtdo(耽羅十景圖)' and 'T'amna-Sullyokto(耽羅巡歷圖)' by a grasp of the contents and meanings of these two paintings. The following are the results of the study. In the 'T'amna-Sipkyung', which is the origin of today's 12 beautiful sceneries of Jeju Island, Baekrokdam and Youngsil are both symbolic places and the backdrops against which Jeju's myths were formed. Jocheonjin, Seogwijin and Myoungwoljin, located near the seashores, are strategic footholds in protecting the territory of the island and connotatively contain its culture and history. Seongsan Ilchulbong, Sanbangsan, Chwibyeongdam and Cheonjeyeon Pokpo are not only the quintessentially beautiful scenes of Jeju but also belong to 'YeoungJu-Sipikyung'. And 'T'amna-Sullyokto', which describes the Jeju horses and tangerines that were presented to the king as tribute, offers scenic elements with a strong political tone and is related to the five scene of 'T'amna-Sullyokto', showing that 'defense' and 'tribute' are motives in choosing the sceneries of people's daily lives here. Jeju's daily scenes in particular have been continuously transmitted: 'Idyllic lives with the background of a tangerine orchard' are shown in 'Kowon Panggo' and 'Kyullim P'ungak', and Jeju horses grazing on pastures or being ridden in hunting trips are presented in 'Sanjang Kuma' and 'Kyorae Taeryop'. Besides Baekrokdam and Youngsil, which do not belong to Sunyeok(巡歷) corridor of minister Lee Hyoungsang, 'Yeoung Ju-Sipikyung', directly related to 'T'amna-Sipkyung', has six beautiful sceneries: Seongsan of Seongsan Ilchulbong, Baekrokdam of Baekrokmanseol, Younggok of Youngsilgiam, Sanbang of Sanbanggulsa Chwibyeongdam of Yongyeonyabeom and Seogwiso of Seojinnoseong. The image of 'Gosumokma', the tenth landscape of 'Yeoung Ju-Sipikyung', was expressed as it is, through 'Udojeomma' and 'Sanjangguma'. The ten beautiful sceneries of 'T'amna-Sipkyung' were also especially described in 'T'amna-Sullyokto', besides Baekrokdam and Youngsil, which do not belong to Sunyeok corridor. As the places and landscapes emphasized on 'T'amna-Sipkyungto' and 'T'amna-Sullyokto' in common have been transmitted by the politicians and ancestors of Jeju Island, they have become established as today's 'Yeoung Ju-Sipikyung', passing through correction processes. When considering this process of development, 'Yeoung Ju-Sipikyung' are worthy of heritage and traditional landscapes accomplished in a long difficult period based on investigation into beautiful Jeju Island and the love of the island people for their home.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.72-83
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• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.