Industrial ceramic of Korean industrial design, especially tableware show different characteristics in their forms between 1940s-1960s, and 1970s-1990s. The shift of such changes can be verified objectively by module measurement. The validity of the results applying this method is supported by the investigation of the change of aesthetic modes in Korean society. The most obvious change in the figurative characteristics of tableware is in the outline of their external shapes. 'Module' is used to describe and analyze the changes of such an external shape more strictly as the objective method and measuring the module is employed. This method was developed by the combination of the method analyzing figurative art works by Re Corbuise who uses 'module' with Hambidge's method to describe and analyze the works by means of the golden section. The shift of flgurative changes of tableware could be examined objectively and elaborately by such a newly developed method. The industrialization of tableware production in Korea was begun in 1940s. Then its design was not activated, but as the society has been stabilized through the liberation and civil war, design was settled in 1960s. After that, the design has played the essential roles in 1970s. And as the importance of design in producing goods has been recognized according to the economic growth. The design of tableware shows a remarkable difference based on 1960s and 1970s in such an economic growth. It is resulted from the scientific data analysis of the design since 1940 without any preference. According to the results which analyze the external shapes of tableware for last 50 years, the tableware designs show much differences between 1940s-1960s, and 1970s-1990s. The figurative changes of Korean tableware show the similar trends to the transitional aspects of the society. Design is the manifestation of aesthetic modes which have been developed in a close relationship to society and especially economy. In Korea the development of design was initiated by the economic growth and the Korean aesthetic modes were also changed with the economic growth. The transitional shift of aesthetic modes shown in the figurative characteristics of tableware which are divided on the basis of 1960s and 1970s was peak in 1970s with the development of economy and design started in 1960s.

The Paper aims to survey and analyze the meaning 'Absence of body' from clothes as non-verbal communication medium. Two types of absence of body from clothes are clothes as object because of removing body, and flattened colthes to deny the body form. In results of analysis, 1)the confrontation of male/female was represented by positive/negative, active/passive, present/absent. 2) male/female means social/private, body/clothing, relevant/irrelevant, subjective/additive. 3) one/numbers, simple/various, limited/free present the various way of waering. 4) tradition/contemporary is expressed by materials 5) enlarged clothes expresses the cynical attitude about body 6) inside/outside , one dress/layered dress suggest new concept to wear against traditional way of wearing.

The objective of this study is to establish a theoretical framework of factors and strategies for success , by probing into design management strategies and the resulting product development details of firms from many parts of the world that improved their images and competitiveness through industrial design. As a means for a company to successfully develop products and to survive, strategies for successful product development were unfolded by many leading businesses of industrial design, whose methods and strategies were respectively unique. International companies such as Philips, Sony, Braun, Ford, and Alessi employed industrial design to not only renew their brand perceptions, but also added values to human life by embedding exclusive designs that customers prefer in their products. They have used design as a business strategic tool, whose elemental processes are, planning, organizing, directing, and controlling. In conclusion, the successful strategies of the leading global companies' design management and product development share the following First, these companies seek design strategies that foresee upcoming changes and are ahead of their time. Second, the CEO is aware of the importance of design, has an appreciative eye for design, and puts in effort into supporting and developing his or her design sector. Third, the director is provided with the conditions in which he or she can take control of one's tasks, and has the abilities and qualities to provide visions for the future. Fourth, the product development team uses original and logical processes and is highly organized. Fifth, the design organization effectively utilizes necessary experts of internal and external company. Sixth, the firm produces innovative products that meet the customers' demand and predict the future. Seventh, the products developed shall employ cutting-edge technologies and are new and original. Eighth, the product must have an identity as a product that represents the company.

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20th century. It would be of worth to study the characteristics of contemporary fiber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber-arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz' works in the context of human body and body-signs. Life and works might be classified into 5 stages: first, learning period since her birth in 1930, second, creation period of Abakans, third, remodelling period of Abakans, fourth, composition and dissolution period of Abakans and the last and fifth, new transformation period of Abakans. 'Abakans' through her whole life as an artist have been a plastic language and based ultimately on external human body but in various materials and forms. Abakan as a human-sign uses the past experiences and the texts of the other world in mixed and overlapped forms. Life-size Abakans by Abaknowiz can be easily understood as Abakanowiz herself and her Polish ancestor at the same time. The neuter Abakans with mashed face and obscure body is a expressive figure of coexisting world with opposite concepts like war and ideology, anxiety and freedom, man and woman, and etc. Human body as body-sign is an extensive image has existed since our forefathers and overlapped with the inter textual and the popular images. 'Abakans' that is our world and inner-self at the same time might be a window through which she tries to show what the world is.

The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

The paper aims to study how to describe the rigorous position on which semantic elements are laid, within the visual space. This purpose is, first of all, for the construction of visual syntactical semantics of the visual space. For this aim, the preliminary research begins with some definitions on : 1) visual space, visual design, visual syntactical semantic meaning, 2) position, sequence of position, 2-dim. sequence of position, and 3) 2-dim. numerical series of position, harmonious dynamic values. Here, The main issue is to define the position in general. To solve this problem, the researcher surveyed the positions on which the sets of pixemes are set up. The results are as follows ; 1. As far as the positions in visual space are concerned, they are the possible locations permitted in the visual patches. They are not the factual but the possible positions. 2.The position value that the sequential point has is not arithmetical but harmonious-dynamic, for it is not permitted for its own sake, but for the person, that is to say, for the viewer's visual perception. 3. The harmonious-dynamic value of positional sequence can be composed of the 2-dimensional successive numerical series which is, in turn, composed of the primordial 3 values x0, $\mu0$, y0. Here, the $\mu0$ is the harmonious mean value of x0 and y0. The x0 and y0 are, therefore, of the mutual dynamic relationship. 4. From this, the 2-dim general $\Delta-TABLE$ of the numerical series of position in visual design could be acquired through development of the primordial 3 values into the $X_i,\;Y_i$, orbit values.