• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.615-624
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• 2020

By enabling musicians to freely control the elements involved in sound production and tone generation with a variety of timbre, synthesizers have revolutionized and permanently changed music since the 1960s. Paik-Abe Video Synthesizer, a masterpiece of video art maestro Nam June Paik, is a prominent example of re-interpretation of this new musical instrument in the realm of video and audio. This article examines Paik-Abe Video Synthesizer as an innovative instrument to play videos from the perspective of audiovisual art, and establishes its aesthetic value and significance through both artistic and technical analysis. The instrument, which embodied the concept of image sampling and real-time interactive video as an image-based multi-channel music production tool, contributed to establishing a new relationship between sound and image within the realm of audiovisual art. The fact that his video synthesizer not only adds image to sound, but also presents a complete fusion of image and sound as an image instrument with musical characteristics, becomes highly meaningful in this age of synesthesia.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1064-1075
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• 2008

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.85-96
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• 2013

This study relates to meta-phenomena in architectural design. Among others, this study aims to interpret and demonstrate the cognitive thoughts and methodological systems in 'autonomy and instrumentality' presented in works of art by positivist architects focusing on diagrams after the second modernity in addition to earlier formal experiments by John Hejduk, Peter Eisenman, Bernard Tschumi, and Daniel Libeskind. In order to achieve these aims, this study approached the mimetic concepts developed by Walter Benjamin and Theodor Adorno. Especially, meta-phenomena in the methods of architectural design were connected to productivity in Adorno's mimetic concepts. Also, in terms of formation and creation of works of art, the mimetic backgrounds of Adorno's theories on aesthetics were identified from features of concepts on the part of formal experiments. The results were systemized methodologically based on meta-phenomena appearing in pure arts and overall architectural design. These were presented as a framework to interpret 'autonomy and instrumentality' that exist in the working of negativity and mimesis. In this way, logics and intuition in architectural design as well as methodological systemization of convergent creativity were proved valid. In conclusion, Adorno's mimetic concepts systemized based on negativity and critical awareness may lead to new concepts. It has been proved that it is valid for security of meta-phenomena of architectural design as a production of autonomous spaces for differences and creation.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.183-193
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• 2013

The study aimed to find the fundamental differences of aesthetics in Korea, China, and Japan by analyzing expressive features and structural meanings of the storage furniture from $17^{th}$ to $19^{th}$ century. The study was performed in four steps; analysis of expressive features, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results showed that three countries had linear shapes with curvilinear elements, closed forms with open spaces, natural material hues with change of tone or color, and symmetrical forms with asymmetrical patterns and structures in common. Korea comparatively accented on the natural material colors and wood grains. China stressed on the big and wide faces using three-dimensional carving. Japan accented on the linear elements with strong color contrast and decorative metal fixtures. These features were caused by the traditional thoughts and according aesthetic principles. Korea and China were affected by the Confucianism focused on establishing the order of rank. Meanwhile, Japan was more influenced by the Buddhism emphasized on the individuality and communication. Therefore, the differences of the expressive features in furniture among the three countries were inevitable consequences of the different ideologies.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• Journal of English Language & Literature
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• v.58 no.4
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• pp.753-782
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• 2012

This paper attempts to look at how the question of cultural identity can be discussed in terms of which "a family of the minds" as a unit can be given meaningful form of interpretation. I found its real possibility in the James family, especially in Henry James Senior, William James, and Henry James Junior since they represent important cultural context reflecting their European relationship in terms of American cultural consciousness. This research is divided in two parts; the first part of this study consisted of the elder James's role as a source of moral aesthetic consciousness for the two children, the second part consisted of showing different aspects of inter-relationships between father and sons and between brothers in the process of identity construction. I examine different aspects of the identity formation process of William James and Henry James Junior by arguing different ways of making relationship with their father's philosophy to illuminate how they reflect and represent American cultural consciousness, and to define the meaning of the Jamesian mind in American cultural history.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.86-93
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• 2012

The foundation of the development in modern typography is based on the era of International Typographical Style and Modern Typography that valued morphological functionality and rationality to achieve an accurate conveyance of meaning. However, with the advance of postmodernism, the view that the aesthetic and conceptual aspect must be included in its interpretation rather than its rational functionality was prominent. Indeed, the works of Dan Friedman and April Greiman, two graphic designers that are known to be the most representative of the post-modernistic era, displayed that graphic design works can also serve as a method for a more free artistic expression, unlike works of Modern Typography. This move towards aesthetic graphics was first started by Wolfgang Weingart. His various attempts at expanding the concept of typography had a significant impact on the development of New Wave and his experimentalist attitude brought about a ground-breaking change to the functional design and formative expression of modern typography. However, this thesis will consider the theoretical background of the typographical designs displayed in Wiengart's works and the experimental methods thereof, and will not attempt to evaluate Weingart's pioneering role and achievements. Furthermore, this thesis will shed new light on the argument that the Weingart's works are not based on the authorship view of post-modernistic typography and are rather utilized to expand the concept of typography based on a syntactical approach.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.80-89
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• 2008

Generally, trees lining the streets are the most easily accessible green areas in the city and constitute the smallest basic unit in the formation of the urban linear green axis. This study attempts to interpret issues related to city trees from a comprehensive and relational viewpoint. The site of this study is Central Park Street in front of Incheon Metropolitan City Hall. This street is representative of those in Incheon City. This study is an inter-relational interpretation of issues by measuring the vitality of these trees. The following are results of this study: First, the vitality of city trees is higher in those trees growing in natural ground than those growing in plant gratings. This observation can lead to budget savings and increased natural areas in the city. Also, if planter and multi-layering planting methods are introduced where damage to trees is predicted, variation to urban landscape can be achieved while linking to reinforced rearing foundation of street-side trees. Second, there is need for a holistic approach to caring for street-side trees regarding the damage caused by drastic pruning and strong street lights. The typical functions of these trees, like supplying freshness in summer, absorbing solar radiation, and controlling the urban micro-climate are closely related to the vitality of the trees. Accordingly, the function and ecology should be understood holistically, not separately. In this aspect, the functional and ecological use of the multi-layering planting method is effective in protecting pedestrians from vehicles as well. Third, the fallen leaves of monotonous rows of trees have different ecological and functional effects. Not only is the index of greenness in the urban setting increased, but there are also aesthetic and symbolic effects. Fourth, in spite of being the street along which Incheon Metropolitan City Hall, major administrative buildings and Central Park are located, this street does not have its own special identity to discriminate it from other streets. It fulfills only functional criteria based on uniformity. If there is no paradigm shift from today's street system based on vehicles, the role of landscape architecture will be very passive in regards to street-side trees, the minimum unit of urban green. Fifth, on this particular street, many trees were planted in December, which reflects a deficiency of short and long-term strategy, like a street-tree master plan. In this aspect, we still lack a mature culture concerning these trees as a basic unit in urban greenery. Furthermore, there needs to be cultural introspection concerning present administrative practices.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.