• Archives of design research
• /
• v.19 no.1 s.63
• /
• pp.303-316
• /
• 2006

Eclecticism, fusing and mixing heterogeneous and contrasting elements to create a new awareness of beauty, is based on diversity and pluralism, and as such fits well with the demand of the contemporaries who pursue individualization and diversification, which explains the current vogue for Eclecticism. As a precondition to grasp eclectic styles that are expressed in modern textile design, this study looks into the characteristics of eclecticism in modern art and applies the insight so gained to textile design in an attempt to understand transformations of modern textile design by considering the aesthetic effects and plastic characteristics suggested by the new trend. The result of our research indicates that the trends that characterize modern textile design can be divided into three categories as follows: 1) Mixing of high culture and low culture through cultural fusion, 2) Fusion of differing sensitivities through blending of times, 3) Blending of regional characteristics through geographical mixing. Characteristics of textile designs as influenced by these trends can be summarized as: 1) a conversion in the way textile designs are viewed, 2) increasing emphasis on the playfulness of representation and 3) multi-cultural expressions. In short, eclecticism of textile design represents a phase of modern society that is increasingly oriented toward multifacetedness and points to a direction for a new possibility of future textile designs, necessitating a continuous research along this line.

• School Mathematics
• /
• v.18 no.2
• /
• pp.349-373
• /
• 2016

Comparison of curriculum between various countries is a major research method for studying a course and content quoted on Korea's national curriculum. Therefore this research focuses on comparing and analyzing a new curriculum which Australia has announced on 2012 and conducting since 2015. From this research result, we found that Australia's curriculum achievement shows some unique characteristics. Such examples can be dealing a concept with real life context and proposing a mathematical content specifically. Also they introduce the definite integral by defining to the sum of series. There are other characteristics such as modelling motion, and numerical integration which Korea's highschool curriculum achievement doesn't deal with, and the content of vector calculus is handled more deeply. As a result of analyzing Australia's textbook, it fully deals with the supplementary notion to help understand mathematical definition. Hence further research will be needed later on to relieve the aspect of cognitive burden on Korean learners.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.2
• /
• pp.413-427
• /
• 2023

This study, centered on the artworks of Julius von Bismarck and Hito Steyerl, elucidates the aesthetic role that fashion plays in Berlin's contemporary art as an art medium. To this end, the following research questions are addressed: What are the characteristics of Berlin's contemporary art and contemporary fashion? What are the artistic styles and features of Julius von Bismarck and Hito Steyerl, and what attributes of fashion as an artistic medium are embedded in their works? How can the attributes of fashion, leveraged as an artistic medium in Berlin's contemporary art, be identified? The research methodologies used in this study include literature review, content analysis, and case analysis. The analytical findings of this study reveal that 1) Berlin has established itself as an international center of culture, yielding keen insights into artistry with reflections on technological media, and 2) the contemporary artworks of Julius von Bismarck and Hito Steyerl in Berlin feature some significant attributes of fashion as an art medium such as contemporary antisociality, metaphorical theatricality, and the tangible and intangible properties of algorithms.

• The korean journal of orthodontics
• /
• v.31 no.3 s.86
• /
• pp.301-309
• /
• 2001

Because many of patients seeking orthodontic treatment worry about the facial appearance and their chief motivation for orthodontic treatment is facial esthetics, it is critical to understand the influence of gender or culture on the evaluation of profile esthetics. The purpose of this study was to find out any influence of gender or culture on judging good facial profile. 4 different groups were asked to evaluate 133 facial profiles to test the influence of gender or culture on judging good facial profiles. Those 4 groups consisted of 10 Korean males, 10 Korean females, 10 Korean American males, and 10 Korean American females. 2 evaluation systems were introduced, absolute and relative. Soft tissues of selected good profile group were analyzed and statistic analysis was performed. Conclusions were as follows 1. Inter-evaluator difference for judging good facial profile was statistically significant, even if there was general agreement for the best profile among 40 raters. 2. Gender difference under the same cultural environment was not significant statistically. 3. The same ethnic groups with different cultural background showed statistically different preference on judging good Profile. 4. Good facial profile group had their own characteristics compared to remaining group in several soft tissue measurements which were vertical facial ratio, soft tissue facial convexity, and antero-posterior relative lip position.

• The Journal of the Korea Contents Association
• /
• v.11 no.11
• /
• pp.111-119
• /
• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.5
• /
• pp.630-641
• /
• 2002

The purpose of this study is to suggest the standard of bodytype which offers various data with regard to three-dimensional characteristics of body, and which offers the criterion for the sizes and shapes to interpret various bodytypes, to estimate filling, and to construct ready-made clothing. In this study, standard bodytype was defined as a typical type with beautiful proportion and shape which a large number of people have, too. In order to continue this study, there were two ways of analyzing bodytypes of subjects in the view of statistics and beauty. We primarily carried on statistical analysis in this report. Taken as a sample, the subjects were ninety-seven females who were between the ages of 18 and 24 years o1d. They were measured on November 1999. The data of seven hundred and few females, 18∼24 year-old, from the National Somatometry Survey of 1997 were used for analysis, too. Three kinds of classification methods were used for statistical analysis. The first method was based on the lateral view of the body, the second was based on the Factor and Cluster analysis of the photographic measurements of each of the anterior and lateral body, and the third was based on the Factor and Cluster analysis of the anthropometric measurements of the whole body. From the analysis on the distribution of R hrer Index the difference of width, the difference of depth, the proportion of height and head height, the High-frequency Proportion(H.P.)range were selected. The straight type from the lateral view, High-frequency type from each method, and subjects in H.P. range were compared with each other. As the result, it was confirmed that it is proper to base on the size and shape of subjects in H.P. range to analyze the standard bodytype.

• (The)Study of the Eastern Classic
• /
• no.43
• /
• pp.183-207
• /
• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.3
• /
• pp.57-65
• /
• 2023

There are differing opinions among scholars as to whether "chuseo" (ugly writing) should be considered as one of the schools in modern calligraphy. Those who do not recognize "chuseo" argue that it lacks traditional rules for stroke formation and therefore loses its distinctiveness. However, the existence and development of "chuseo" are closely related to the constant exploration and reform of modern calligraphy, as well as the increasing aesthetic awareness and changing aesthetic standards of calligraphers with changing times. As a result, there are now more people who recognize "chuseo" as a legitimate form of calligraphy. Calligraphers who lead the times learn and accumulate experiences by adhering to traditional calligraphic principles. However, there are calligraphers who discard the traditional Confucian concept of "chungyong" (中庸) and display "ugliness" in their works. Ok Heung-hwa and Jeung Sang are two such calligraphers who created their own style by incorporating ancient oracle bone inscriptions as their main focus and folk calligraphy as their bloodline. This paper aims to explore and study the definition and formation process of "chuseo" by analyzing the works of Ok Heung-hwa and Jeung Sang. At the same time, it aims to summarize the characteristics and aesthetic beauty of "chuseo".

• The Journal of the Korea Contents Association
• /
• v.21 no.9
• /
• pp.88-104
• /
• 2021

The visual expression of deconstructive graphic design influenced by postmodernism differs from the traditional ways of graphic expression that consist of precise images and text and is challenging and highly experimental. The characteristics of the formative nature of such deconstructive graphic design emphasized the importance of the reader as the principal agent of aesthetic experience in the appreciation of works. For this study, a new ideological framework was developed regarding the ambiguity arising due to visual experimentation in deconstructive graphic design, assuming the central theory to be the Reception Theory (Aesthetics of Reception) centering around the recipient who is the reader. The characteristics of Iser's Reception Theory are substituted as a theoretical category and an interpretation of the works of ambiguity in deconstructive graphic design is carried out. Although Aesthetics of Reception is a literary theory about the interaction between the artist and the reader, as a method for interpreting deconstructive graphic design influenced by postmodernism, it laid a theoretical foundation and enriched the interpretation of works. Moreover, the four characteristics of Iser's Reception Theory were used to create a framework that suggested a new direction for the approach based on the reader's interaction in the process of interpreting works of modern graphic design.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.23 no.4
• /
• pp.16-28
• /
• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.