• International Journal of Advanced Culture Technology
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• v.7 no.3
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• pp.149-157
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• 2019

Recently, the blockchain platform is changing the art market. Changes are taking place in many areas, including artists, collectors, art investors, and auction. The platform that provides distribution history information on artworks on a blockchain basis can be used when information on the work history is suspected or needs verification, and can be used to manage the distribution history information of stolen and lost artworks and confiscated artworks by the police. Several companies currently operate these platforms, but they operate various blockchain platforms according to their contents. In this paper, we will compare and analyze features of artworks blockchain platform.

• Korean Institute of Interior Design Journal
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• no.31
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• pp.29-40
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• 2002

Environment artworks occupy the diverse spaces of architecture not as one of ornaments or supplementaries to edifice but as a main subject of architectural effect. The application of artworks in architectural design, such as paintings or sculptures including installation art possesses social and historical functions as well as contextual meaning. In Korea the interest of environment artworks has increased since early 1980s, during which large projects began to establish. However environment artworks have been selected merely by the owner's preference or the artist's aesthetic value without collaboration with architects or interior architects, who are willing to allow the minimal units of signification to architectural space. The purpose of the study is to prove the importance of environment artworks in spatial design of architecture. The essence intrinsic to design issue will be defined by proposing the selection factors for environment artworks to escalate the value of architectural space, so that we can expect not only the unification of art and architecture but also the accordance between artistry and publicity.

• Korea Trade Review
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• v.41 no.4
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• pp.111-129
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• 2016

In this paper, I reviewed the analysis of possible ICC model of international sale contract terms used in the international artwork trade. Based on this, the provisions proposed considering the specialties of the international artworks trade. The purpose of this research study is to help practitioners draw up a contract of international artworks trade. In Chapter II, I reviewed the highlights of the international sale of goods contract. In Chapter III, I discussed the issues that arise in creating specific provisions on the international artworks trade agreements. In Chapter IV, I discussed the issues in creating the general provisions on the international artworks trade agreements. Quantity provisions of the international artworks sales contract should include the "more or less" clause. And it should also clearly define the scope of the author's property rights transfer in the copyright provisions. Even if a buyer has been assigned the copyright of artworks from the artist, if the buyer modifies the artworks without permission, moral rights can be violated. In addition, even if a buyer has been assigned all of the intellectual property rights of the artists, if the buyer does not have the specific provisions, the buyer must keep in mind that the unauthorized publication of artworks, film production, merchandising, etc, may infringe the right to create derivative works.

• International Journal of Advanced Culture Technology
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• v.8 no.4
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• pp.242-248
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• 2020

Most works of art are done through brokers, and transaction details are not disclosed to the public and are always at risk of tampering. To solve these problems, many Artworks Blockchain Platforms that apply blockchain technology to art transactions are being used. Several companies are currently operating these platforms, but since various blockchain platforms are operated according to the content, the operating methods of each platform are different, and a related model is needed to solve these problems due to compatibility issues between platforms. In this paper, we collect the latest Artworks Blockchain Platforms data, and based on this, we will create and analyze the Color Petri net model of Artworks Blockchain Platform.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.600-611
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• 2016

This study examined the impacts of types of titles of artworks, especially 'untitled', on audience reponse. Generally, naming can be a tool to represent characteristics of objects, affecting their market value and price. Since contemporary artworks are often untitled, this study aimed to investigate how naming 'untitled' would affect audience response. As the size of arts market increasing, how the audience, potential buyer of artworks, responds to artworks is important. Based on prior research, we hypothesized that the audience would have different level of understanding, attention, attractiveness and curiosity to untitled artworks, controlling other factors. In the regression results from the data of 305 respondents, we found that people had significantly lower level of understanding and attention on untitled artworks than on artworks of explanatory or associative titles. In addition, respondents showed significantly higher level of curiosity when the artwork was an painting. This study confirmed the assertions of prior research that titles are indeed important, and further implied that artwork creators should be more concerned on naming their artworks since titles as well as artworks themselves could actually affect audience response.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.374-381
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• 2022

This study analyzes the visual perceptual difference of observers in the artworks created by human artists and artificial intelligence(AI) through eye-tracking. More specifically, the study analyzes the degree of visual attention through a fixation experiment on non-linguistic sources such as the formation and expression of artworks. As a result of this study, the subjects had guessed that one out of four artworks were created by AI (in actuality, 61.1% of the artworks were created by The Next Rembrandt). This demonstrates that most of the subjects hardly recognized the difference between the artwork of human artists and AI. From the comparative analysis of visual perceptual differences found through eye-tracking, more visual attention was found to be demanded for catching details of more stimulating visuals compared to less stimulating visuals. In the gender difference analysis, both of the female and male subjects were likely to stare more intently at the flowers of still-life paintings (Deep Dream & Vincent Van Gogh) while the eyes of a portrait painting (Rembrandt & The Next Rembrandt); this demonstrates no significant differences in gender. Various opinions on AI and art creation from different perspectives arose, therefore, this research is meaningful in a way that it suggests an objective examination through experiments with an artistic perspective.

• Journal of Korean Society for Quality Management
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• v.47 no.4
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• pp.687-700
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• 2019

Purpose: The purpose of this study is to investigate the interaction effects between price determinants of artworks. We expand the methodology in art market by applying machine learning techniques to estimate the price of artworks and compare linear regression and machine learning in terms of prediction accuracy. Methods: Moderated regression analysis was performed to verify the interaction effects of artistic characteristics on price. The moderating effects were studied by confirming the significance level of the interaction terms of the derived regression equation. In order to derive price estimation model, we use multiple linear regression analysis, which is a parametric statistical technique, and k-nearest neighbor (kNN) regression, which is a nonparametric statistical technique in machine learning methods. Results: Mostly, the influences of the price determinants of art are different according to the auction types and the artist 's reputation. However, the auction type did not control the influence of the genre of the work on the price. As a result of the analysis, the kNN regression was superior to the linear regression analysis based on the prediction accuracy. Conclusion: It provides a theoretical basis for the complexity that exists between pricing determinant factors of artworks. In addition, the nonparametric models and machine learning techniques as well as existing parameter models are implemented to estimate the artworks' price.

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.134-142
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• 2009

Entering the twentieth century, the development and change of artworks have had influence on spectators. When spectators appreciate artworks such as paintings and sculptures, they usually show passive, contemplative attitude towards artworks. Through upheavals like the two World Wars, the change of artworks requires the participation of spectators. Active change of spectators' roles have a lot to do with the changes of artworks that spectators enjoy. With the invention of computer and development of media in the mid-twentieth century, spectators reached the position of active users. Also contemporary spectators attempt to change from users to producers. Contemporary spectators' role as producers can be examined especially in the works of $\ll$ZENetic Computer$\gg$ by Naoko Tosa. This research explored the new role of spectators to clarify this trend.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.415-424
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• 2011

Interactive media art can be said to be art in which audience participation and communication through interaction is considered to be most important Previously the role of the audience is to unilately accepted the artist's message, whereas the role of the audience observing interaction media has been changed to the point of the producer, actively participating in completing the artwork through interaction. This study analyzed the interaction and communication between the audience and interactive media artworks from the audience's point of view (in the view of reception theory) by the investigation of the case of the artworks that were on exhibition. Employing the exhibition interpretation medium with docent explanation and wall text was experienced how to improve audience's communication when they watched the artworks. The docent explained the intention of artists and their artworks in the manner of storytelling and induced the audience to focus naturally on the artworks. As the result, the role of the exhibition interpretation medium was found to be significantly high in enhancing the degree of emotional communication with the artworks, so in this study I attempted to present that the role of the docent is an important factor for enhancing the audience participation and emotional communication through interaction with the artworks.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.66-86
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• 2022

This paper focuses on the document "Property Ledger of Dr. Rhee," which was a supplement to the Disposal of the Late Dr. Rhee's Property written by the secretarial office of the Cheongwadae (the Korean presidential residence) in 1970. The document contains a list of 311 items, including furnishings and artworks, once owned by President Syngman Rhee. The items had been in the collection of the Cheongwadae, but in February 1970 they were transferred to the family of the late President Rhee. The background for creating this list is as follows. After the April 19 Student Revolution in 1960, a survey was conducted of Rhee's movable assets, including artworks in his private residence Ihwajang. Their transfer to the National Museum was discussed at one point, but it was decided to use them at the Cheongwadae instead. In 1963, however, the transfer of these assets to the National Museum was ordered, and some duplications of the private possessions were sent to Ihwajang House. In 1970, furnishings and artworks stored at the Cheongwadae were also returned to Ihwajang House, and the "Property Ledger of Dr. Rhee" document was produced. This ledger lists works by artists from the Joseon period through the 1960s. It is difficult to identify each of these artworks since no photos are attached and the details provided are minimal. Nevertheless, this ledger is valuable in that the scale of artworks in the collection of the Gyeongmudae (the former name for the Cheongwadae) and Ihwajang House can be partially identified and in that it helps us understand how the issues surrounding the reversion of ownership of these artworks were resolved.