• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.303-308
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• 2021

This paper deals with the meaning of seeing in John Ruskin's aesthetic theory. For Ruskin, seeing is the essential key to define moral insight. To consider the relationship between the education of sight and the delight from experience of seeing in nature within Ruskin's moral thought, I analyse Ruskin's various lectures and texts, including Modern Painters, The Story of Halcyon, Of the Science of Light, Proserpina, and Praeterita. The first section of the body investigates the relations among pleasure, thought, sight which compose Ruskin's moral ecology, and then the second section traces the theoretical logic formed the concept of seeing as moral perception of human being. The third section demonstrates correspondence between aesthetic experience of pleasure and the way of seeing as an education for the mystery of Nature and God. After these theoretical processes, this paper finally insists that seeing is the factor of formation of an ecological sensibility corresponding with development of moral perception generated within the hierarchical structure of human-nature-god.

• Journal for History of Mathematics
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• v.22 no.2
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• pp.53-68
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• 2009

From ancient Greek times, the infinite concepts had debated, and then they had been influenced by Hebrew's tradition Kabbalab. Next, those infinite thoughts had been developed by Roman Catholic theologists in the medieval ages. After Renaissance movement, the mathematical infinite thoughts had been described by the vanishing point in Renaissance paintings. In the end of 1800s, the infinite thoughts had been concreted by Cantor such as Set Theory. At that time, the set theoretical trend had been appeared by pointillism of Seurat and Signac. After 20 century, mathematician $M\ddot{o}bius$ invented <$M\ddot{o}bius$ band> which dimension was more 3-dimensional space. While mathematicians were pursuing about infinite dimensional space, artists invented new paradigm, surrealism. That was not real world's images. So, it is called by surrealism. In contemporary arts, a lot of artists has made their works by mathematical material such as Mo?bius band, non-Euclidean space, hypercube, and so on.

• Journal of the Korea Computer Graphics Society
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• v.11 no.3
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• pp.23-27
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• 2005

시간과 공간을 서로 융합하려는 노력들이 현대 화가들의 작업을 통해 여러 가지 다양한 접근 방법이 시도되고 있다. 그중 포토 꼴라주(Photo Collage)를 이용한 작업들은 컴퓨터를 이용한 영상 처리 기술과 상반된 흐름을 가지고 있어 공학적 관점에서 매우 흥미롭다. 본 논문에서는 이러한 포토 꼴라주을 한 장의 사진을 이용하여 나타내고자 한다. 이를 위해 한 장의 사진을 사각 격자로 분할하고 분할된 각 셀들을 이차원 변환(크기변환, 이동, 회전)과 톤의 조절을 통해 구현하였다.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.299-304
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• 2020

This paper considers the research content and its historical significance of the Study of Nature conducted by John Ruskin(1819-1900) who had a profound influence on art, architecture, social reformation, and preservation of natural environment in Great Britain. Because Ruskin's Study of Nature would be the key to understand totally the implicative meaning of his various academic trials for integrating a wider contexts among human, culture, and society, without being bound by the rules of conventional disciplines. For Ruskin, 'Nature' is defined as 'a system' governing every aspects of human and non-human beings, formulating certain laws of composition. This system has an ecological quality to form a state of harmony by internal interaction and process. Such organic quality of nature worked as 'a metaphor' in Ruskin's research practices. Therefore, Ruskin's Study of Nature would be the conceptual basis for organizing and connecting its various elements of Ruskin's spiritual world.

• The Optical Journal
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• s.135
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• pp.68-71
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• 2011

정물화는 회화에서부터 긴 역사를 두고 변천해 왔다. 17세기 네덜란드에서 성행하기 시작한 정물화는 일상적인 생활에서 만나는 사물을 회화적으로 재구성한 결과물이다. 눈에 보이는 사물을 그대로 그려 낼 수 있는 화가의 기량을 평가하는 기준으로 제시되었으며 인간의 생활상과 작가의 심상을 표현하는 하나의 장르로 자리잡았다. 또한 정물은 시대의 변화에 따라 그 소재가 다양해지면서 무한히 변화되었다. 특히, 현대사진에서의 정물사진은 대상이나 의미에 따라 그 시대의 일상적인 삶과 연관된 소재들이 다양해지면서 단순히 재현에만 머무르는 것이 아니라 사회를 반영하고 미학, 철학과 함께 구조적으로 변화됐다.

• Pallet News
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• s.60
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• pp.5-14
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• 2011

현대물류에 있어 가장 효율적 시스템인 유닛로드 시스템(Unit load System ULS)의 구축과 보급 확산은 국내 물류시장에 시급한 과제다. ULS는 일관파렛트화와 컨테이너화가 그 핵심이며, 일관파렛트화와 컨테이너화는 파렛트와 컨테이너의 표준화로 가능하다. 올해는 APSF 아시아 유닛로드시스템 컨퍼런스를 개최하여 APSF 회원국들 및 국내 우수기업의 유닛로드시스템 개선사례를 소개하였다. 한편, 같은 시기에 한국파렛트컨테이너산업대상을 함께 개최하여 산업 물류 혁신을 위해 표준파렛트와 컨테이너 생산 및 사용에 있어 가장 모범이 되는 우수한 업체와 이러한 활동에 헌신한 개인 또는 단체를 발굴, 시상하였다.

• Archives of design research
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• v.15 no.1
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• pp.15-26
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• 2002

Contemporary visual art is characterized by a systematic study of the irrational. This trend was largely a reaction to the rationality of Modernism, which felt out of fair in the post-industrial society. This new trend against Modernism is represented by Deconstructivism. However, the appeal of irrationality has a deeper root. In this article, we examine the historical roots0 of this interest in the irrational. In doing so, we focus tour attention on the effect of Freud's theory of the subconscious on the growth of Surrealism in modern art. In particular, we explore how this same tendency is reflected in modern. floral art & design. By doing so, we are able to relate the developments in floral art & design with the developments in other areas of modern art. Finally, we show that it is possible for floral art & design to be in the vanguard of contemporary art because of its unique characteristics.

• Cartoon and Animation Studies
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• s.40
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• pp.497-519
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• 2015

Kwon Kisoo is one of the most promising artist in Korea. His paintings portray a lot of metaphors and philosophies in oriental art. As an artist, he adapts both oriental and contemporary ideas to make his paintings. His main motifs are Plum blossoms, Chrysanthemum, Orchid and Bamboos. These plants are known as 'Sa-gonja' in Korean but translated as the 'Four Gracious plants' or the 'Four Gentle Plants in english'. These noble plants represent the four seasons. They grow in different weather conditions. In oriental art, these plants are considered very important for their qualities. These qualities are important attributes for gentlemen in literati painting. The drawing of the 'Four Gracious Plants' in Kwon Kisoo's paintings is simplified. He uses lines, shapes and colour to create contours of the motifs. In his paintings, there is another icon he calls 'Dongguri'. Dongguri is the main character in Kwon Kisoo's paintings. It was developed in 2002 by fast brush strokes. Dongguri is an admired character because it looks like very cute in Kwon Kisoo's paintings. Dongguri is always seen living in the midst of the 'Four Gracious Plants'. The 'Four Gracious Plants' with other landscape features like rocks and mountains are places 'Dongguri' lives. Dongguri is also often found performing a lot of actions like climbing, running, sitting etc. All these actions depict metaphors which have been unraveled in this study.

• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.71-76
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• 2020

The preface to the Korean version of ≪十個詞彙中的中國≫ is titled This means June 4, 1989, when the Tiananmen Square incident in China took place. It was cleverly called 'May 35' to avoid censorship by the Chinese government. The reason why the original ≪十個詞彙中的中國≫ is banned from publishing in China is because the book directly mentions the Tiananmen Square incident. On the contrary, it was published in the May 35 style of writing in spite of public opinion. Writing in the May 35 and June 4 style refers to writing in "fiction" and "non-fiction." For the past three decades, Yu-hwa has talked about the Chinese reality in love and hate amid the so-called fiction "false writing." And it is someone's admission that there was a keen spirit of criticism in the past. ≪十個詞彙中的中國≫ has an important meaning that Yu-hwa is no longer dependent on the framework of fiction, but is the first work to begin to express the desire to directly talk about.