• Proceedings of the KWS Conference
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• 1997.05a
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• pp.39-40
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• 1997

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.68-80
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• 2013

This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.

• Proceedings of the Korean Institute Of Construction Engineering and Management
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• 2007.11a
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• pp.562-566
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• 2007

In apartment house renovation project, the project progress held up in perception gap or conflict of interest with residents as usual. These dispute occurs ambiguous borderline ordistinction of Common Useing) Parts and Exclusive Possessed Private Parts. The Maintenance Covenant now in force in Korea and Japan are considered in this paper about theses item. Summarizing the conclusion is as below. 1) In The Maintenance Covenantnow in force, in definition of Ownership, Utilization, Maintenance, Japan is more ostensive than Korea. 2) The Borderline of Common Using Parts with Exclusive Possessed Parts is [Inner line of Exterior Wall] in Korea and in Japan also. But in Korea it is not in unity in purpose and action or definition and description. 3) In Japan, the Subject of Ownership is defined with hierarchically, as Housing complex-residential Building-individual dwelling, But not in Korea. 4) In Japan, [Exclusively using Common Owned Parts] are defined, But not in Korea.

• Bulletin of the Society of Naval Architects of Korea
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• v.27 no.2
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• pp.21-30
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• 1990

Theoretical and experimental techniques to analyze the two-dimensional liquid motion in a tank are discussed. A Lagrangian FEM with a velocity correction procedure is introduced to describe incompressible free surface fluid flow. A mesh rezoning technique is used to prevent strong distortion of finite elements in the Lagrangian description. Model test technique for sloshing tank is developed using a hydraulic type bench tester. The influence of the variation in the exciting frequency and amplitude are observed for various fill depths. The results of theoretical calculations are compared with those of experiments.

• Korean journal of communication and information
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• v.48
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• pp.109-134
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• 2009

This study explores the political parody, which has become an active art form in order to express Korean Internet users' political practices, especially, during the politically turbulent periods from the presidential election of 2003 to the recent candlelight vigil protest of 2008. This study investigates the rise and fall of a parody culture by online users from the mid-2000s, and also examines aesthetical aspects of parodic artworks relying on amateurism culminated in 2004. Specifically, the current study questions an aesthetical lack shown in 'appropriation', by which most of the online users simply produce imitations of original image. This study rather notes 'photomontage' as an aesthetic prototype, the political aesthetics made by John Heartfield, through which this study intends to observe how his aesthetical legacy of political art could be realized in the contemporary form of political parodies produced by online users. The present paper concludes that online users' political participations in producing critical works of art could allow us to negate the dichotomy between the elite and the mass, professional artists and amateur parodists, and a radical politics and the politics of style.