• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.1-12
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• 2008

This study begins by establishing the theory that paintings serve as a visual documentation of a particular era and record the ideal fashions and customs about dress behavior through the costumes represented in them and examines the close relationship between fashion and art, focusing on the influence of art on fashion, as well as that of fashion on art, for both painters and fashion designers. To attain the goal of the study, the selected objects of study are written references and dresses represented in paintings produced in the 19th century. Painters who were the subject of documentation created or popularized new fashion styles before the concept of 'fashion designer' was introduced in history. In order to capture and represent the ideal beauty of certain period, painters understood the important role of fashion. Their work not only included the designing of costumes or accessories for the sitters, but also the spreading of new fashion styles by showing the sitters wearing them. Study of the mutual relationship between fashion and art grew more vigorous among many intellectuals in a variety of fields beginning in the 19th century. The standing of fashion was elevated and the concept of the 'fashion designer' was introduced and the interest in the themes of a specific style or the background of a trend increased during this time period. Many contemporary fashion designers created dresses inspired by the costumes represented in paintings. The result of this study which focuses on the relationships between fashion, artist, fashion designer and art is that connection between fashion and art is closely and firmly formed. For several hundred years, painters were the creators as well as promulgators of fashion and fashion designers, from the 19th century until today, have obtained their creative inspiration from art.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.193-201
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• 2007

The information technology is quickly changing the paradigm of the overall society. This change has influenced the art field and exceeded the limit of prior art characteristics and methods opening up a new world of art pieces starting among the young artists based on digital art technology. Especially the internet art of the computer technology made the communication of the artist and the viewer to communicate in a bilateral manner different from one way feeding of the past and made it possible for the viewers to choose their involvement in the act of seeing the work changing the reaction into a fluid concept. This thesis is about using the digital media in the net art communication to figure out the fluid interaction by approaching the digital media concept and by analyzing the characteristics of net art communication means and thus take a overall look at the artist related web sites and see the net art as a new communication means.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.151-161
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• 2014

This study suggests method of expression of nail art utilizing Salvador Dali's Paranoiac Critical Method and produced the actual works based on discussions on Salvador Dali's painting, Paranoiac Critical Method, Nail Art's artistry and technique of expression. The result of the study is as follows: 1) Characteristic of Dali's painting is a Paranoiac Critical Method. If suggesting this characteristic in a method of expression of nail art, a good work which can be expressed on a small space, a nail, representing Dali is selected and 5 tips which are very similar to the rate of the painting are used in order to obtain an aesthetic effect just like a painting. And after composing on tips using the whole paining or part of painting, actual techniques of expression such as Hand Painting, Protranse or Water Decal are used. 2) the result of nail art produced utilizing Dali's Paranoiac Critical Method is as follows. Most of all, for nail art I with the topic of "The Persistence of Memory" (1931), after giving changes to 5 tips for the watch which is a part of the painting, Hand Painting technique is used using Acrylic Painting with colors which are similar colors to the painting. Then for nail art II which adopted "Slave Market with Invisible Bust of Voltaire" (1940), the whole painting is divided into 5 tips and Protranse technique which attaches printed paper onto nails was used. Lastly, for nail art III with the subject of "The Enigma of Desire My Mother, My Mother, My Mother" (1929), Water Decal which is emphasizing the parts of the painting and composing on 5 tips and copying printed picture onto Water Transfer Paper in order to attach on the nails is used. These nail arts show aesthetic characteristics such as fantasy, unconsciousness, grotesque, infinity, non-realism and horror just like paintings.

• Journal of Science of Art and Design
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• v.6
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• pp.267-287
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• 2004

The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.40-47
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• 2006

This study examined concepts and expressional relations with Rene Maggritte works that had influence upon design expressions of Shiro Kuramata who brought name of things to the extreme to give new values and functions at the end. Rene Maggritte who was a representative surrealism painter in Belgium had a lot of influence and inspiration on the art world including pop art and conceptual art in the middle of the 20th century and so many modern artists. Rene Maggritte unreasonably placed object of ordinary things that people could know to combine them and to make people's thought be free from ideas. Shiro Kuramata worked at wide areas including the space, lighting, furniture and products to be well known as a designer who could create concepts. Shiro Kuramata designed indoor space and furniture not by making forms but by being free from customary names and concepts of things to examine substance and to discover unlimited possibility and to create new visual functions. And, such a thing made people be free from names and concepts that they cognized for a long time, and it brought freedom to things. This study investigated correlations of work concepts and expressions of Rene Maggritte and Shiro Kuramata to bring new inspiration and expansion to people's thought methods and design methodology regarding concepts of things.

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

• Journal of English Language & Literature
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• v.55 no.4
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• pp.641-659
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• 2009

Since Plath killed herself in 1963, the theme of death has become one of the central motifs and allusions in her work. The biographical emphasis continues to blur the boundary between the artistic world and the material world. While approaching Plath's work from the perspective of personal experience, the objective of this paper is not to suggest that we encounter Plath's personal voice and emotions directly in her work. Rather, I emphasize how Plath's work of mourning is substantiated in the act of writing. Plath protects herself from the unnamable or the existential void by writing poems. She shows the way in which art or writing enables the subject to confront traumatic memory. While the death drive propels Plath towards destruction, artistic formation serves to alleviate her psychic crisis. What I shall suggest in the paper is how works of art lead the melancholic subject to challenge traumatic events. Plath herself suggests the therapeutic power of language. Plath's hostility toward women as well as men situates her work nearer to the Kristevan psychoanalytic theory which examines depressive anxieties intrinsically linked to the loss of maternal objects. Kristeva's particular focus on the concept of "death-bearing mother" or the unnamable offers a fruitful reading of the representation of infantile fantasies, sexuality, anger, and ambivalence toward lost loved object which clearly dominates most of Plath's poems. Kristeva elaborates mourning and melancholia through the framework of signification and it is of especial relevance in deciphering the recurring death drive and melancholic rage in Plath's work. Melancholic subjects in Plath's work are characterized by an amorphous state, occupying a borderline state regulated by the death drive.

• International Journal of Computer Science & Network Security
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• v.22 no.9
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• pp.251-257
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• 2022

Nowadays, the issues of comprehensive formation of a person capable of self-education, self-development and creative self-realization in the conditions of distance education are relevant. There is a need to solve this problem, which is due to social, cultural, and pedagogical factors. This makes it necessary to find effective means of personality formation. In this matter, great importance is attached to the modern method of forming a creative personality - art therapy. Various approaches to the definition of art therapy have been clarified. They consider various forms of art therapy when working with children, adolescents and adults in the context of distance education. The most relevant are the two main forms of work - individual and group art therapy. Art therapy develops the individual's creativity. Therefore, during art therapy, attention is focused on the inner world, experiences, and feelings. Therefore, we believe that in the context of distance education, art therapy has everything for the powerful potential of personality formation. Scientists consider this therapy as therapy by means of art, which is based on experiences, conflicts that can be expressed in the visual arts and music. Art therapy helps to get rid of conflicts and experiences. This happens in the context of distance education through the development of attention to feelings, strengthening one's own personal value and increasing artistic competence. The article describes the signs that characterize art therapy. Art-therapeutic technologies in the context of distance education, which are now actively used by psychologists, teachers and art therapists themselves, are highlighted. The advantages of distance learning are considered. The characteristic features of distance learning and features of the use of art therapy by means of distance education in the process of professional training of specialists are determined.

• Proceedings of the KIPE Conference
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• 2003.07a
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• pp.451-454
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• 2003

In this paper, the research trend and the sate-of-the-art of low cost motor drives are introduced with the recently increasing interest In various industrial applications, such as home appliance, hybrid electric vehicles, wind power systems, fuel cell systems, and etc. Based on this presented work, it is highly expected the power electronics technologies, which are accumulated through the last 20 years, can be effectively applied to actual application fields.

• International Journal of Advanced Culture Technology
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• v.7 no.3
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• pp.149-157
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• 2019

Recently, the blockchain platform is changing the art market. Changes are taking place in many areas, including artists, collectors, art investors, and auction. The platform that provides distribution history information on artworks on a blockchain basis can be used when information on the work history is suspected or needs verification, and can be used to manage the distribution history information of stolen and lost artworks and confiscated artworks by the police. Several companies currently operate these platforms, but they operate various blockchain platforms according to their contents. In this paper, we will compare and analyze features of artworks blockchain platform.