• The Journal of Natural Sciences
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• v.8 no.2
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• pp.199-224
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• 1996

The value orientations and life styles which are characterized by the postmodern societies have been expanding in korean society. This paper concerns with the postmodernism for in fashion design : at first the complex relationships between the logic of post-industrial society and the culture dynamics of postmodernism will be explained. Then the characteristics of postmodernism in the comparision with the Bauhaus, also "modernism" in design areas will be critically identified, and significant examples which I select in order to criticize the basic elements or orientations of postmodern design will be analized in details.I will make a new perspective which is beyond Bauhaus and postmodernism ; namly 'open dialogism design.'. But in the boundary of its introduction.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.496-503
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• 2010

The art education in the latter period of the 20th century was conducted in the same cramming method as education of expressionism and pragmatism from beginning to end, while post-modernism can be interpreted as a viewpoint of reflecting the diversity, popularity and needs of the era. Under such circumstances, this research is aimed at looking for an educational method that can reflect the educational method of this present period. Thus, this research is trying to analyze the works of some artists showing a variety of styles of the post-modernism period and to inquire into a new direction at a viewpoint of the post-modernism where divers cultures co-exist. This research considered these artists' works as the objects for comparison because there exists an aspect of something in common in that there are more diverse-style-based expression in the post-modernism art education though their subject and format are different individually. Therefore, this research is conducted at a viewpoint of assisting in the understanding of more diverse style-based painting in the post-modernism education.

• Archives of design research
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• v.15 no.1
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• pp.257-266
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• 2002

Modern Society is tuning to the wide organized social structure with highly varieties. To the cultural aspects in these days of the late-indusoial society, due to the post-modernism. This kind of trend was found in overall fields of studies. Therefore, the post-modernism is to be a kind of a modern spirit ruling over the late 20th century. Post-modernism is a vague expression, that was begun to appear in various artistic intellectual, ideologic trends with a repulsion of modern design after the World War II. The present age as a modern society slews a distinguished mark of undifferentiation disorganization and relaxation, disassembling of social structure. With the study on the background of occurrence, character and philosophy for the post-modernism, the theoretical background of post-modernism could be seen. According to the influence of post-modernism, the minimalism, retro-design, kitsch-design, deconstructionism-design deconstructionism-design, new materia1-design and cyber-design shown on each trend of modern industrial design were studied.

• Archives of design research
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• v.13 no.3
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• pp.221-234
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• 2000

This thesis aims to study the space concept of the constructive mode in the work space of the postmodernism artists since 1970s. According to the changing view of the world artists, they are searching for the characteristics of having the parameter of formative organization on how they are related to the constructive system which represents the work styles. First, this study searches for the theoretical approaches of the constructive system and parameters that were studied by Le Corbusier - the module concept as the meaning of order system being used for the basic formative construction Second, when it is regarded as a formative construction in making art as the'principles of organization'(the law of living form), which was defined by Suzanne Langer in the formative theory as the organized structure shown in growth structure in mu and ecological system, the principles governing the module rules were arthmetically analysed art-work space through the dynamic symmetry of Jay Hambidge. Therefore, this study shows the principles working on the parameters for new formative organization as follows: First, the module in the work space should be designed and built from the dynamic symmetry. Second, the module should satisfy the human needs that it must be acceptable, efficient, flexible, which are the necessary and sufficient condition for the dynamic symmetry. Third, the dynamic symmetry which has the principle of Reciprocity and the principle of Complement as its primary construction principle has the common properties and the reciprocity in the construction of the work space and when it has the self similarity, it segments organically the total space without damaging the continuum.

• Journal of Science of Art and Design
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• v.12
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• pp.145-191
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• 2007

21세기는 과학적 물질문명의 발달로 인하여, 과거에는 느껴보지 못했던 물질문명의 풍요를 이끌어 냈으며, 컴퓨터, 메스미디어의 발달로 인하여, 인간 문명의 관심은 지구계를 벗어나 우주론적으로 확장되어 마침내 우주시대를 열었다. 하지만 인간의 이성과 함께 영원하리라 믿었던 과학적 합리성은 20세기 초두에 제국주의적 전쟁을 일으키게 되었으며, 그로 말미암아 이성 파괴 현상이 드러나게 되었다. 급기야 20세기말에 이르러 다원주의라 칭하기도 하는 후기산업사회의 병적 증후군들, 국가간의 경제전쟁, 컴퓨터 및 각종 정보매체를 통한 신속한 정보교환의 이면에는 인간의 자기정체성의 혼돈을 아울러 초래하게 되었다. 과학기술의 발달로 생태계 및 환경은 오염되고 파괴되었다. 20세기말에는 산성비, 엘니뇨, 라니냐 현상으로 인하며, 환경의 재앙을 초래하면서 이제 인간은 문명에 대하여 여태껏 가져왔던 확고한 믿음에 회의를 갖게 된 것이다. 이와 같은 현상은 인간의 주체적 인식과 과학적 믿음의 지나친 숭배로 인하며 자연도 인간에 의하여 지배되고 인간을 위해서만 존재하는, 인간과 자연의 이원론적인 생각 즉, 인간의 이성에 의해서만 가능하다고 생각한 "근대적 주체"에 대한 맹신의 결과인 것이다. 이렇듯 20세기의 문제점은 21세기로 전가되어 여전히 계속되고 있으며, 세계내의 가장 큰 문제점은 전쟁, 기아 등 보다 이제는 오히려 환경. 생태문제로 귀결되어 지구의 생존권 자체가 위협을 받게 되었다. 미술도 서구문명의 근대주의적 영향에 의해서 모더니즘 등 이성위주의 미술인 "근대 주체적 미술"로 발전하였지만 포스터모더니즘에서 보여 지듯 이미 인간의 순수한 이성을 근간으로 한 미술에 있어서의 주체성 주장은 상당부분 무너졌으며, 이제는 장르의 해체와 다원화 현상으로 나아가게 되었다. 환경파괴에 직면하여 이제 주체는 자연이라는 타자를 새롭게 등장시킨다. 그리하여 생명중심주의, 전체론, 감각 중심주의 등 인간과 자연이 함께 공생하는 자연을 향한 생태적인 미술이 절실히 요구되는 것이다. 이에 본 연구논문은 무비판적 서구미술에 동요되지 않고, 지극히 자연적이고 동양적이기도 한 끊임없이 생명력을 창출해 내는 자연에 관심을 같게 되었으며, 환경의 중요성과 함께 생태학적 미술, 즉 생태미술에 본인의 작업을 관계시키고자 한다. 근대적 문명사에 의해 매장된 생태적 유기성의 흔적을 고고학적 탐사방법을 통하며 발굴해 내며, 환경윤리와 생태학, 심층 생태학, 북친의 '사회 생태학'을 수용하여 물질성의 생태적 복원과 함께 조형공간의 다원성에 대한 생태 미술의 일단을 규명코자 하였다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.251-262
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• 2020

The purpose of this study is to analyze musical styles emerging in modern musical history from the perspective of integration and deconstruction, and to academically investigate the characteristics contained in each style. The style of musicals can be divided into periods of non-integrity, integration, deconstruction, and convergence. The rise of musical styles and the associated meanings can be studied from the perspective of modernism and postmodernism. In modernism, the energies of 'integration' and 'concentration' form the major trend while in early postmodernism, the powers of 'deconstruction' and 'dispersion' play the main role. Late postmodernism is a dialectic result of both trends in which the philosophy of 'convergence' and 'harmony' operates as the main theme. The principle of integration and deconstruction, which forms the base of musical creation, emerged after the development of the unstable style of non-integrity in the early days of musical. Later, with the advent of Rogers and Hammerstein II, the principle of integration was established for book musicals, emphasizing the linearity of drama, and the principle of deconstruction was born for concept musicals to contain new contents. The 'convergence' found in later musical works turn the theme from non-integrity to integration, and from deconstruction to integration again, which indicates that integration is embracing the concept of deconstruction again in a more advanced sense. Such convergent compromise that constantly influences each other and develops in a better direction can contribute to the development of musical styles.

• Archives of design research
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• v.14
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• pp.283-294
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• 1996

This study is one of the many tnals which would prove the need of linguistic approach to the process of making and evaluating design. Also, this study is a suggestion that a concept of metonymy should be applied to the field of desIgn. In ord"r to proceed above thesis, this study, begins with emploY1Og an linguistIc eye isual language, in the fIeld of design. Secondly, the method of exitence and the positive meaning of metonymy wIll be ecplained in the relation to the post-structural and post-modern thinking structure. ThIS IS because through the use of metonymy, people can express theIr concern about particularity and individuality whIch Modernist universality skept over. Finally, this sudy proves the validity of employing the concept of metomyny 10 the field of post-modern design by analizing actual examples.ples.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.67-83
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• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.8
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• pp.684-690
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• 2016

Cities are not built simply for amusement, but to tackle external factors faced by societies and built based on theoretical arguments. In order to construct a city and develop it, we have to understand the grounds and reasons for doing so, and have to think through how to build a city that corresponds with what contemporary societies are looking for. Therefore, this study identifies the philosophical implications by reviewing theories and compares these implications with the Urban Charters, in order to propose processes of change for the philosophy of city construction. As a result, it was found that cities are based on ideas that correspond to the common values of the era, within a frame of areas and relationships, under complicated sociological, economical and humanities environments. The results are supported through case studies of urban areas, buildings and facilities in the Administrative City in Korea. This study is meaningful because it establishes philosophies of city construction by comparing and analyzing their charters with the sociological phenomena in the 20th century, and because its research target is the Administrative City to which the philosophy of the 21st century's has been applied since the beginning of the construction. We have to take different points of view corresponding to the changes and development of cities.