• Cartoon and Animation Studies
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• s.41
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• pp.429-454
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• 2015

The starting point of this discussion resides in the 'eyes' of mirror in a sense of seeing the self reflected in a mirror. The meaning of mirror has been evolved over the centuries while strengthening its sense of identity by bringing up some questions for resemblance, reproduction, self-reflection and reality. A mirror has also extended its vision and provided with a range of images that the self can't have. In this regard, looking into a mirror has been a sustained focus of attention by creating another ostensible being of self-image. This shows the two sides of mirror, which reveals an ambiguous gap between substance and illusion. An excessive immersion in a reflected image in a mirror is intensified and expressed today. The eyes of mirror consisting of a complex dual structure show relations between a person who sees and a person who is seen, which draws a hazy line of demarcation between the subject and the object. This opens up the possibility of the world of chiasme, where you could face all the aspects being from the eyes of others. Furthermore, the meaning of the reflection in a mirror has formed a creative discourse as an enigmatic medium that creates a variety of 'eyes' in various forms of aesthetic expression like paintings and literature. I accordingly suggest that the 'eyes of mirror' is the ambiguous 'eyes of human being' reflected in two territories of the world. Therefore, I will present the historical development of the perspective on the mirror to take a concrete approach in which it opens up the reflective structure of resemblance through a series of examples projected onto the literary and artistic productions. This study will serve as ruminations on the fact that your life is being existent in 'chiasme' of mutual entanglement between the self and the world by investigating relations between a person who sees and a person who is seen, in other words, relations between the perceiving subject and the eyes of others reflected in a mirror.

• 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.

• Korean Journal of Organic Agriculture
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• v.15 no.1
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• pp.59-69
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• 2007

This experiment was conducted to study the spring productivity and feeding value of hairy vetch varieties. We also measured DM yield and feeding value by analyze CP and CF that authors made possible to calculate TDN and RFV. The results can be summarized as follows; Dry matter yield were increased earlier autumn seeding date and later cut in spring. Differences of dry matter yield in earlier cut in spring was high in order of Ostsaat, Welta, Vv4712, Penn-02, Common and Minnie. Crude protein(CP) yield was increased when earlier autumn seeding date and later cut in spring. Total digestible nutrient(TDN) yield of hairy vetch varieties was decreased when later autumn seeding date, and was increased when later cut in spring. TDN yield was highest in Ostsaat and Welta varieties had highest dry matter yield. Acid detergent fiber(ADF) content was decreased when later autumn seeding date and was increased when later cut in spring. Neutral detergent fiber(NDF) content was decreased when later autumn seeding date. Average values for relative feed value(RFV) were 157% and 132% in both cut. It shows that a high feed value in all of hairy vetch varieties. Above all, the results presented that the optimal seeding date for cultivating hairy vetch in the central region of Korea is between the 10th to the 20th of September. Because Ostsaat and Welta had significantly high dry matter yield we expected Ostsaat and Welta have a higher wintering ability.