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한국사진학회> 한국사진학회지 AURA> 빛과 시간에 대한 사진적 연구 - 사진작품 < Foresta > 연작을 중심으로 -

KCI등재

빛과 시간에 대한 사진적 연구 - 사진작품 < Foresta > 연작을 중심으로 -

A Study on the Photographic Research of Light and Time - Focused on the series of < Foresta > -

김태중 ( Kim Taejoong ) , 천경우 ( Chun Kyungwoo )
  • : 한국사진학회
  • : 한국사진학회지 AURA 47권0호
  • : 연속간행물
  • : 2021년 08월
  • : 35-47(13pages)
한국사진학회지 AURA

DOI


목차

Ⅰ. 서 론
Ⅱ. 작품 제작 및 발전 과정
Ⅲ. 작품 전개 및 분석
IV. 결 론
참고문헌

키워드 보기


초록 보기

The series of the < Foresta > is a photograph work by the writer combining photographs and installation including the < Foresta - quasi a due > and < Foresta - reverse >. This research aims to study the notions of light and time prompted in the process of working on the < Foresta > series which takes a dark forest of an environment of specific light conditions as a subject matter.
The unique photographing method of emitting the large amount of low light running behind the tripod as leaving the shutter open was required in order to realize minutely scattering lights in the dark forest. This act of moving and shooting light is a basic element of the works, leading to the questions as to the light and time.
A series of < Foresta > an outcome of the concern and experiment regarding the medium of photography. The < Foresta - reverse > and < Foresta - quasi a due > attempted to work with different media are also drawn from the processes of researching the light and time. Through this research, it is expected to see the new examination that the photography with a great diversity of potentiality will acquire not only as a contemporary art but also as a theory of photography.

UCI(KEPA)

간행물정보

  • : 예체능분야  > 기타(예체능)
  • : KCI등재
  • :
  • : 반년간
  • : 1228-503x
  • :
  • : 학술지
  • : 연속간행물
  • : 1994-2021
  • : 554


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47권0호(2021년 08월) 수록논문
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저자 : 최형구 ( Choi Hyung Koo )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 8-20 (13 pages)

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In case of copyright infringement of photographs, the most important issue of the court procedure is how the creativity of the copyrightable photograph is determined. This issue is, in normal practices, determined in two different stages.
First is the stage determining whether the plaintiff's photograph is a copyrightable work. In this stage, the court shall find if the photograph contains any creativity. In the second stage, the court shall find which are the copyrightable parts of the photographs. Then the court shall compare the copyrightable parts to the corresponding parts of infringer's photograph, and finally determine the substantial infringement.
With the research, it was found that the some domestic courts unreasonably restricted creativity of photographs in the above stages. These are compared to foreign court precedent cases that have accepted generally creativity for almost all photographs. Moreover, the courts tried to limit excessively the protectable range of photography copyright. This paper compared and analysed the copyright infringement cases of photographs in domestic and foreign courts, clarifying the above different standards in two different stages, and proposed some suggestions for protecting photograph copyright.

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2기술매체 기반 미술의 근본문제 - 사진, 뉴미디어, AI -

저자 : 박평종 ( Park Pyungjong )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 21-34 (14 pages)

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This article deals with the main issues of art based on technical media leading to photography, computer based new media, and AI. Photography, which was born as a technical medium in the 19th century, became an important axis of contemporary art by combining it with digital technology and computers that quickly spread in the late 20th century. The so-called “AI project,” which started in 1950s, was rapidly developing into the 21st century, and is encouraging the evolution of the technical medium. Digital technology and computer engines are now at the center of contemporary art. The direction of this change is clear. In other words, the automaticity of the program is becoming more advanced. Photography, the first technical medium, started with 'low-level automation', but through computers and new media, 'high-level automation', such as an AI engine, is rapidly progressing. In this process, the original intention of human beings who planned the program disappeared and only 'functional automatism' remained. This is why the criticism of the technical media should consider this issue of “self-exclusion” as an object of reflection.

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3빛과 시간에 대한 사진적 연구 - 사진작품 < Foresta > 연작을 중심으로 -

저자 : 김태중 ( Kim Taejoong ) , 천경우 ( Chun Kyungwoo )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 35-47 (13 pages)

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초록보기

The series of the < Foresta > is a photograph work by the writer combining photographs and installation including the < Foresta - quasi a due > and < Foresta - reverse >. This research aims to study the notions of light and time prompted in the process of working on the < Foresta > series which takes a dark forest of an environment of specific light conditions as a subject matter.
The unique photographing method of emitting the large amount of low light running behind the tripod as leaving the shutter open was required in order to realize minutely scattering lights in the dark forest. This act of moving and shooting light is a basic element of the works, leading to the questions as to the light and time.
A series of < Foresta > an outcome of the concern and experiment regarding the medium of photography. The < Foresta - reverse > and < Foresta - quasi a due > attempted to work with different media are also drawn from the processes of researching the light and time. Through this research, it is expected to see the new examination that the photography with a great diversity of potentiality will acquire not only as a contemporary art but also as a theory of photography.

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4고서화에 찍힌 도장 이미지의 디지털 분리 방법 - 해동 백계산 옥룡사 증시 선각국사 비명 병서를 사례를 중심으로 -

저자 : 장선필 ( Jang Seon Phil ) , 손영호 ( Son Young Ho )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 48-56 (9 pages)

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The purpose of this study is to decipher the seal on Haedong Baekgyesan Okryongsa jeungsi Seongakguksa bimyung byungseo which has been stored in the Suncheon Songgwangsa Museum. So far, it has been impossible to decipher the steal due to the overlapping of the letters on the paper. To overcome this problem, we employed a technique using a digital camera and a computer. First, we digitized the seal image using a high-performance digital camera, then classified it as four parts according to color density; white paper, black letters, red seal and overlapped seal with letters. Classification was done using correlation between the color, density and brightness of the seal and those of the paper. In this process, digital techniques were used, such as highlighting and weakening each area (paper, seal, letter, seal + letter) in a state good for separation. Then, we adjusted the color and luminance of the seal to a desired condition for digital separation, and the density and contrast were adjusted differently by digitally processing the density, luminance, and color of the paper and seal. The extraction was successful by changing the concentration and contrast of the sealed inju. Consequently, we successfully deciphered the seal on the Book.

KCI등재

5행위로서의 사진과 퍼포먼스 - reMEMBERed, Versus 시리즈를 중심으로 -

저자 : 천경우 ( Kyungwoo Chun )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 57-70 (14 pages)

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초록보기

This thesis is a study on the possibility of extension of photography from the process of taking portraits, which aims to result in a photographic image, to a performance art in which the process itself becomes the center of the work.
The background and development process of the work are centered on the photographic series reMEMBERed (2002), Pseudonym (2004), and Versus (2007), as well as the performance works 18x1Minute (2004) and Versus (2007-2012) derived from photographic works. In addition, noteworthy parts of the contents that various theorists have described about the artist's work are extracted and compared with the author's thoughts. Based on this, various examples of a performance work, which is a work as a work itself and 'photography as a holistic experience of space and time', is presented along with the image of the work, and through this, the possibility of new recognition of the photographic medium is discussed.

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6언캐니, 아버지의 이름과 북한 영화 - '태양아래, 2016'를 중심으로 -

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발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 71-83 (13 pages)

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발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 84-100 (17 pages)

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“Documentary style”is a new style and strategy which appeared widely in the process to realize the expression types of modern art based on post-modernism including conceptual art and post-structuralism in order to express the state of a period changed since 1990s.
Direct influences were given to neutral photographs which developed through photographic realism and to the expression types of modern archive art which is a new artistic finding in modern art and important artistic practice since 2000's. The thesis was focused in the trend of the art in such time.

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8언론에 노출된 대남삐라 사진의 영향 분석 - 정서적·인지적 반응을 중심으로 -

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발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 101-115 (15 pages)

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This study is valuable as a study of the peacetime anti-South Korean leaflets. And it is valuable as an evaluation of effectiveness and in that it is a study of anti-Korean leaflets reported in the media.

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In case of copyright infringement of photographs, the most important issue of the court procedure is how the creativity of the copyrightable photograph is determined. This issue is, in normal practices, determined in two different stages.
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This article deals with the main issues of art based on technical media leading to photography, computer based new media, and AI. Photography, which was born as a technical medium in the 19th century, became an important axis of contemporary art by combining it with digital technology and computers that quickly spread in the late 20th century. The so-called “AI project,” which started in 1950s, was rapidly developing into the 21st century, and is encouraging the evolution of the technical medium. Digital technology and computer engines are now at the center of contemporary art. The direction of this change is clear. In other words, the automaticity of the program is becoming more advanced. Photography, the first technical medium, started with 'low-level automation', but through computers and new media, 'high-level automation', such as an AI engine, is rapidly progressing. In this process, the original intention of human beings who planned the program disappeared and only 'functional automatism' remained. This is why the criticism of the technical media should consider this issue of “self-exclusion” as an object of reflection.

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The series of the < Foresta > is a photograph work by the writer combining photographs and installation including the < Foresta - quasi a due > and < Foresta - reverse >. This research aims to study the notions of light and time prompted in the process of working on the < Foresta > series which takes a dark forest of an environment of specific light conditions as a subject matter.
The unique photographing method of emitting the large amount of low light running behind the tripod as leaving the shutter open was required in order to realize minutely scattering lights in the dark forest. This act of moving and shooting light is a basic element of the works, leading to the questions as to the light and time.
A series of < Foresta > an outcome of the concern and experiment regarding the medium of photography. The < Foresta - reverse > and < Foresta - quasi a due > attempted to work with different media are also drawn from the processes of researching the light and time. Through this research, it is expected to see the new examination that the photography with a great diversity of potentiality will acquire not only as a contemporary art but also as a theory of photography.

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This thesis is a study on the possibility of extension of photography from the process of taking portraits, which aims to result in a photographic image, to a performance art in which the process itself becomes the center of the work.
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“Documentary style”is a new style and strategy which appeared widely in the process to realize the expression types of modern art based on post-modernism including conceptual art and post-structuralism in order to express the state of a period changed since 1990s.
Direct influences were given to neutral photographs which developed through photographic realism and to the expression types of modern archive art which is a new artistic finding in modern art and important artistic practice since 2000's. The thesis was focused in the trend of the art in such time.

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8언론에 노출된 대남삐라 사진의 영향 분석 - 정서적·인지적 반응을 중심으로 -

저자 : 정은진 ( Jung Eun Jin ) , 김성우 ( Kim Sung Woo ) , 이상은 ( Lee Sang Eun )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 101-115 (15 pages)

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The study is about the impact of North Korean leaflets reported in the media. It is particularly a study of emotional and cognitive effects. Four-topic leaflets were interviewed by 14 people. Most of the participants who saw the anti-South Korean leaflets reacted negatively. There were more participants who answered that they were not affected by each anti-South Korean leaflets than those who said they were affected. However only four participants answered that all leaflets were unaffected.
This study is valuable as a study of the peacetime anti-South Korean leaflets. And it is valuable as an evaluation of effectiveness and in that it is a study of anti-Korean leaflets reported in the media.

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9《은밀한 강박관념》작품론

저자 : 양혜정 ( Yang Hye Jung ) , 신성균 ( Sheen Sung Kyoon )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 47권 0호 발행 연도 : 2021 페이지 : pp. 116-126 (11 pages)

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The Secret Obsession is a photographic work that expresses the inferiority complex of beautiful legs that women have with stockings as a medium. Stockings are more than a simple consumable and have a duality that makes them accept the inconvenience of wearing to supplement the desire for body beauty. Photographer Hyejung Yang deals with the subject of passion and obsession for beauty as a two-sided psychological action projected on stockings through this work. However, she no longer used stockings to symbolize the oppression or the complex produced by obsession. Instead, Yang tried to reproduce the psychological desire for a slender leg shape as a positive photographic image combined with joy and freedom. In the process of contemplating, photographing, cutting, attaching, and assembling stockings of various designs, the obsession that has been secretly working so far begins to appear healthy to the outside. It contains metaphorical, parody, and sometimes simile messages behind strong patterns, rhythms, decorations, and colors. Yang placed a mannequin with stocking on a background and objects that she separately produced, photographed with a digital camera, and edited with Photoshop.

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