ICAF 2018 in Seoul, Korea June. 29~30, 2018
Sharing Culture and Arts in the 21st Century
ICAF 2018 in Seoul, Korea June. 29~30, 2018
Sharing Culture and Arts in the 21st Century
Keynote Speech HOMEProgramKeynote Speech
Sang-Duck Seo, Ph.D.
Graphic Design & Media
Department of Art,
College of Fine Arts,
University of Nevada Las Vegas (UNLV)
Alex G. and Faye Spanos Distinguished Teaching Award, 2017 Grand Award in ‘2016 Korean Society of Basic Design & Art Katowice International Exhibition,’ in Poland, 2016
Conference Presentation & Publication
“Design pedagogy in symbology: denotative and connotative
interpretation”, The 2017 International Association of Societies of Design Research (IASDR) Conference, Cincinnati , OH “Beyond Branding: Focusing on analysis of the Secondary Brand
Identity (SBI) for the brand value”, The 2017 KSDS Spring Conference, Seoul, Korea “Visual perception & cognition with a secondary identity for experience design”, 2017 the 11th International Conference on Design Principles & Practices, George Brown College, Toronto, Canada “A humanoid doing an artistic work – graffiti on the wall,” 2016 IEEE/RSJ International Conference on Intelligent Robots and Systems., S. Korea “Ethical Decision: Designer’s Responsibility in Sustainable Design”, KSBDA International Conference, Pukyung National University, S. Korea
KSDS (Korean Society of Design Science) International Invitational Exhibition, “Typeface: Believe,”
Media: Digital Print, Doosungpaper, Seoul, S. Korea (December 11 - 15, 2017) ASBDA (Asia Society of Basic Design & Art) International Conference & Invitational Exhibition, “Optical Illusion II ,” Media: Digital Print, Asia Culture Center, S. Korea (August 18 - 20, 2017) Palmerston North International Invitational Exhibition, “Spatial Visualization: Canyon,”
Media: Digital Print, Massey University in New Zealand (July 3 - 7, 2017) Seoul International Invitational Exhibition, “Optical Illusion I,” Media: Digital Print, Seoul Arts Center, Seoul, S. Korea (May 6 - 12, 2017)
Art Cognification in the Fourth Industrial Revolution
The Fourth Industrial Revolution has changed society, economy, culture, and people. It is also moving towards an impact on a human being as “Smart and Intelligent” way through everyday life. According to the Schwab’s statement in the 2016 World Economic Forum, “we are at the beginning of a revolution that is fundamentally changing the way we live, work and relate to one another,” the revolution focuses on everything human-centered. In the meanwhile, art belongs to human beings and it can never be an independent entity as long as humans are active. Because art appears as aesthetic nature by human sensation, it is visible when a human pays attention to the art. In the Fourth Industrial Revolution, art is not easy to distinguish between being natural and artificial. This phenomenon underpins that art has been identified by various adoptions and implementations with physical, digital and biological congnification which are primary input technologies in the Fourth Industrial Revolution. While the ubiquitous digital technologies are living with us every day, we appreciate many advantages such as availability, portability, sustainability, and functionality. However, we would be faced with missing the significant value of human beings if there is a lack of artistic human sensation. This presentation brings a significant concern of the role of art through several examples in the Fourth Industrial Revolution. For instance, an artificial-intelligent robot-arm cooking can provide convenient service for physical disable person or for someone who doesn't have time to cook. However, users abandon emotional creativity in which human brain interacts with five senses (taste, sight, touch, smell, and sound) during a cooking activity. In another example with artificial intelligent painting work, we may reconsider the artistic value of creative identity compared with nature of art by the artist. Moreover, wearable tech-products provide an informative function by the access to human brain, body and even emotion for analyzing collected user's databases. Without reflecting personalized flexibility, however, those products are not possible integrated into the human being. While most technologies are appearing as smart and intelligent changes in the Fourth Industrial Revolution, we will have to look for an infrastructural relationship with other technologies. Artistic influence or an impact value on the art revolution in human being is a significant consideration for not only existing authentic arts, but also co-existing with other transformations in human being. We perceive the new technology as an effective, efficient and innovative cognification. We are aware of that art is a significant key to human interaction with future science and technology. We, however, as artists should know what to prepare for human interaction with art and how to implement it for sustainable value in human beings. We should obtain a broad knowledge of high intelligent creativity for using the new technology as another infrastructure. An impact of the Fourth Industrial Revolution will definitely cultivate a new history of art with future technology, but the nature of art can be obscured in terms of overwhelming technology influenced by cognification. The Fourth Industrial Revolution is still at its beginning. We should have ongoing questions, what should we teach students in art subject and how are we going to provide them learning experiences for success?
**Cognification: The process of making objects smarter and smarter by connecting, integrating sensors and building software/artificial intelligence into them.
제 4 차 산업혁명은 사회, 경제, 문화 및 사람들을 변화 시켜 왔으며, 일상생활을 통해 "스마트하고 지적인" 방식으로 인간에게 미치는 중요한 영향으로서 나아가고 있습니다. 2016 세계 경제 포럼 (World Economic Forum)에서 슈 워브 (Schwab)는 "우리는 우리가 살고, 일하고 서로 연관되는 방식을 근본적으로 변화시키는 혁명의 시작에 있다" 라는 언급했습니다. 여기서 혁명은 인간의 모든 것에 집중되어져 있다고 볼 수 있습니다. 한편, 예술이란 인류에 스며들어져 와서 우리 인간의 활동범위 밖에서는 독립적인 존재가 될 수 없습니다. 왜냐하면, 예술은 인간의 감각에 의해 심미적인 본질로 나타남으로써 인간이 예술에 관심을 기울일 때 그 본질이 뚜렷해 지기 때문입니다. 제 4차 산업혁명에서 예술의 형태는 자연적인지 인공적인지 구별하기가 쉽지 않습니다. 더욱이, 이러한 현상은4차 산업혁명에서 주요 입력기술력으로 구성되어진 물리적, 디지털 및 생물학적인 접근방식의 Cognication 도입으로 인한 다양한 실험들을 통해 예술이 새롭게 재 구성되어 오고 있다는 현상을 뒷받침 하고 있습니다. 매일 쏟아지는 디지털 기술력이 우리 일상 속에서 늘 함께 살아가고 있는 동안, 인간은 그 새로운 기술력의 가용성, 휴대성, 지속 가능성 및 기능성과 같은 많은 이점들에 주목하게 됩니다. 그러나, 인간의 예술적 감각 또는 감성이 결핍되어 있다면 우리는 인류의 중요한 가치를 놓치게 될 것입니다. 이번 발표는 제 4차 산업혁명에서 여러가지 실증적 예제들을 통해 예술의 본질적 역할에 대한 중요한 관심을 불러 오고자 합니다. 예를 들어 인공 지능 요리 로봇(팔)은 신체 장애자 또는 요리를 할 시간이 없는 바쁜 현대 사회에서 편리한 서비스를 제공 할 수 있을 것입니다. 하지만, 사용자는 요리 활동 중에 인간의 두뇌가 오감 (미각, 시각, 촉각, 후각 및 청각)에 의해 상호작용하는 정서적 창의적 활동을 포기하게 됩니다. 또 다른 예로, 인공지능에 의해 그려진 미술작품이 예술가의 작품과 비교해서 과연 창의적인 예술적 본질이 담겨 있을 수 있는지를 고려해 볼 필요성이 있습니다. 더군다나, 웨어러블 기술력을 가진 제품들은 인간의 뇌, 신체 및 감정에 접속해 각 사용자 정보를 수집, 분석한 후 개인화된 기능들을 제공해 주고 있습니다. 그러나 개인화된 유연성을 반영하지 않는다면 이러한 제품들은 인간과 상호작용에 있어서 많은 거리감이 나타나게 될 것입니다. 제 4 차 산업 혁명에서 대부분의 기술이 현명하고 지적인 변화로 나타나고 있지만 다른 기술과의 인프라 관계를 반드시 찾아야하며, 동시에 4차 산업기술력이 예술 분야에 있어서 어떠한 영향력 또는 예술적 가치로서 인간과 함께 공존해 갈 수 있는지가 중요한 고려 사항입니다. 우리는 또한 이러한 신기술을 효과적이고 효율적이며 혁신적인 Cognification으로 인식함으로써, 예술이 미래의 과학 기술과 인간의 상호 작용에 중요한 열쇠임을 알고 있습니다. 그러나 예술인들은 인간 상호 작용에 대해 무엇을 준비해야하는지, 인간에게 지속 가능한 가치를 위한 구현 방법을 고찰해 나아가야 합니다. 우리는 새로운 기술이나 또 다른 인프라의 구축을 위해 창의성을 높이는 데 필요한 광범위한 지식을 습득해야 합니다. 제 4 차 산업 혁명의 기술들로 인해 신 예술 역사가 쓰여지게 될 것이지만 그 예술 작품은 Cognification 영향으로 인해 기계 또는 기술력에 스며드려 예술적 본질이 가려질 수 입니다. 제 4 차 산업 혁명은 아직 시작 단계에 있습니다. 아울러, 4차 산업혁명의 예술 교육에 있어서 학생들에게 무엇을 가르쳐야 하며, 전문 예술가 양성에 있어서 학생들의 실질적인 학습 경험을 어떻게 제공 할 것인가에 대해 질문이 4차 산업혁명에서 지속 되어져야 할 것입니다.
**Cognification: 센서를 연결 혹은 통합하거나 소프트웨어, 인공 지능을 만듦으로써 무언가를 더 발달시키는 방법
Artist and Professor of Engravings at the Versailles School of Fine Arts.
Conference Presentation & Publication
2013: Korean Elementary Art Education Association conference; Keynote presentation Beyond the boundaries of art education
2012: Korean Elementary Art Education Association conference; Keynote presentation Children's Art Education at the French Art Museum
Illustrator of 6 poetry books : “Vie Saxifrage” published by Al Maner; “Temps solaire”, “Demeures de Mots et de Nuit” and “Écriture et peindre au-dessus de la nuit des mots” published by Voix d’encre; “Passeurs de Rive” published by La tête à l’envers; “Enjamber le fleuve” published by Daniel Leuwers.
the Korean Embassy in France; Conseil Général des Yvelines, France ; Art Bank, Seoul; Art Edition, Seoul; Ville d’Ermont, France; Geumcheon district, Seoul
80 solo exhibitions and about 200 group exhibitions in numerous countries in France, Korea, Germany, Greece, Spain, Italy, as well as the USA, Japan and China, Taiwan, Luxembourg and India Participant in the Salons Saga(Paris), Art Cologne(Germany), Art Paris(Paris), Kiaf (Seoul), Art editions (Seoul)
The Development of Fine Art in the Fourth Industrial Revolution
The fine arts have a strong analog heritage, however, the Fourth Industrial Revolution promises more creativity and global connectivity. We will examine how art can evolve in a landscape where life sciences, physics and informatics converge and artificial intelligence is dominant in industrial development. How can art and advanced science merge in the Fourth Industrial Revolution?
1. Artistic works are created through personal philosophies and personal myths, or on the basis of emotional inspiration. We must therefore examine the possible convergence of the artists’ inner sensitivity with the extrinsic elements of the Fourth Industrial Revolution.
2. The core foundation of fine art is to render what is internal and spiritual for artists. Therefore, we will examine if art made by digital technologies and artificial intelligence can give rise to similar impressions.
3. We could assume that the artists engaged in the fine arts are facing a crisis in an era which threatens all things analog. In reality, the fine arts and many other cultural sectors started seeing changes a long time ago. Artworks have been created through the convergence of genres and various material choices since the early 20th century. In France, as in other countries, art education programs and artists use a range of different media to integrate diverse art forms and adopt new trends in technology.
I believe that the approach to art as transdisciplinary can be a bright prospect for artists. There are many questions that we must ask ourselves in this rapidly changing 21st century. We will try to address some of them. How will artists and the various art forms remain connected with humanity? Can art touch human sensitivities without creating a concrete connection with matter and memories?
Dr. Michael Mayer
Professor at the University of Bayreuth
PhD, Exanimate with „magna cum laude“ PhD-Thesis: “Dekonstruktionen des Exotismus”(Deconstructions of Exoticism)
1. Supervisor: Prof. Dr. Christian Begemann (Ludwigs Maximilians University Munich, LMU)
2. Supervisor: Prof. Dr. Hilary Dannenberg (University of Trier)
Research and Teaching Positions
since 3/2016: Lecturer at the Chair of Modern German Literature and Lecturer for Studiable Fugitives, Lecturer of the Summer University, Preparatory Courses DSH / TELC, University of Bayreuth, Levels A1-C2. SS 2017: Lecturer for the DAF course "German as Foreign Language" for students from South Korea, Department of Intercultural German Studies, University of Bayreuth. Since 10/2015: Guest professor at the Philosophical Faculty Universty of Zenica, Bosnia and Herzegovina, Department für German Language and Literature.
8/2014-7/2015: “ ‘Wir werden dem Tao nachgehen’ - Der Einfluss Asiens auf die Poetik des Expressionismus am Beispiel der Autoren Alfred Döblin und Gottfried Benn.” in collaboration with Prof. Dr. Sang-Bum Chin, Research Director (Chonbuk National University), supported by the Chonbuk National University.
Book “Tropen gibt es nicht.” Dekonstruktionen des Exotismus. Dissertation. Bielefeld: Aisthesis Verlag 2010. Critics by Thomas Schwarz in: Zeitschrift für Germanistik 3/2011, S. 642-645. Articles Die ‘geerdeten’ Luftschiffer. Caspar Walter Rauhs Illustrationen zu Jean Pauls Des Luftschiffers Giannozzo Seebuch. In: Monika Schmitz-Emans/Wolfram Benda (Hrsg.): Jean Paul und die Bilder. Würzburg: Königshausen und Neumann, 2013 S. 151-175. Structures of Public Administrations in the age of the European Colonialism. In: Linguistic Perspectives & Qualitative Research (LPQR) Vol. 4 No. 2 2013. 12. S. 1-8. together with Sangbum Chin: Ukiyo-e. Vom japanischen Holzschnitt zum deutschsprachigen Text – Eine intermediale und transkulturelle Kunstadaption. In: World Literature Studies Nr. 1/2015(Vol. 7), hrsg v. Róbert Gáfrik und Michael Mayer, Bratislava, S. 16-32. (http://www.wls.sav.sk/?page_id=536) together with Sangbum Chin: „Wir werden dem Tao nachgehen“ ‒ Der Einfluss Asiens auf die Poetik des Expressionismus am Beispiel der Autoren Alfred Döblin und Gottfried Benn. In: Alman Dili ve Edebiyatı Dergisi – Studien zur deutschen Sprache und Literatur 2015/I, Istanbul, S. 18-38. (http://dergipark.ulakbim.gov.tr/iuaded/) “Vorher passiv, nachher passiv?” Wendeliteratur im interdisziplinären Kontext (On Unification). In: Frank, Caroline/Kazmaier, Daniel/ Schleich, Markus (Hg): An den Grenzen der Disziplinen - Literatur und Interdisziplinarität. Hannover: Wehrhahn-Verlag (Werke – Welten – Wissen), erscheint vor. Frühjahr 2018. “Der Wind nimmt mich zur Ferne mit” – Max Dauthendeys Leben und Schreiben. In: Zum Dauthendey Jubiläumsjahr 2017 Würzburg,in process, Publication spring 2018.
The flow of art as the flow of social energy.
A contribute to the relationship between art and social and political areas.
The German artist Caspar Walter Rauh (1912-1983) starts his painting in the 1930’s while the threat of National Socialism began to grow. Rauh continued painting as a German Soldier in the Second World War to digest the cruelty of the war. Also in the time after the war he stays on that topic. His paintings and drawings show often fantastic landscapes with moving fantastic creatures in it. The function of Rauhs fantastic elements is to visualize the cruelty of the war. But the viewer needs a little time to identify the social and political topic of war in Rauhs paintings. But the influence of his social-political experiences in the war is designed in his works and can be seen as a flow from reality to fictional art. Those flowlines are very complex in Rauhs paintings and drawings. In this way, Art can be seen as “fields of force, place of dissension and shifting interests, occasions for the jostling of orthodox and subversive impulse [.] " like Stephen Greenblatt says it in his book "Shakespeare Negotiations" (Greenblatt, 2005, p. 21). To understand art and literatures as "fields of force and discussion" helps the interpretation also to involve the contemporary historical background of the knowledge about art. Therefore it is not possible to see Art and Literature as nice arts without any use for a society – a meaning, which is often discussed in the public. Against this meaning this paper will highlight the hyper thesis that there is a big influence of the social on art and literature like also a big influence of art and literature on the social. This influence shall be named after Greenblatt as “flow of social energy” between those mentioned areas. Greenblatts term will be usefull in this case. This method equates all areas of society and a flow of (cultural) takes energy between them. Greenblatt's basic idea is precisely to regard art and literature as a network of different social, cultural and political discourses and thus the overall picture as one of the "poetics of culture" (Greenblatt 2005, p 20) to make it readable. Greenblatt's method allows to analyses the complex structure of relationships between art, literature, society, politics and other social or scientific disziplines.
The paper will highlight those points by the example of the German artist Casapar Walter Rauh to show, how lines of social energy cross his works and how the get modified by the flow of his art.
Call for Paper