• 복식
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• 제59권8호
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• pp.1-14
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• 2009

This study was aimed to make clear fashion is an expression art displaying not only functional or commercial aspects, but creative functions as an artistic work by analyzing Art Mode and its values, and to help develop more creative design by combining fashion with art. In terms of method, relevant documents, precedent studies, and the works announced in domestic and foreign fashion collections, such as Vogue, Fashion News, Gap, and Collections from 2000 to 2009. According to the findings, artistic works were used by the Art Mode in modern fashion. The respect of artists was expressed using historic famous painting works or current works in various fields, designers' individuality was shown by directly applying work messages to clothes, and fashion design was converted into a tool to communicate the messages like artistic works. Second, the various styles, using the formative character of modern art styles from animalism to modern abstractism, showed the creativity of design, transformed art into the art that enables to see the image of modern art, and presented the possibility of developing into a newer creative design through the application of numerous art styles and the transformation of ideas. Third, the collaboration with artists was used. Fashion designers or fashion brands tried to change the images of works or brands in partnership with artists or to increase differentiated images. The future direction of fashion is a pursuit of new form and content to express fashion, not simply to use artistic works. It is expected that such pursuit will lead to more creative and artistic fashion design.

• 대한가정학회지
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• 제45권1호
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• pp.1-7
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• 2007

This study investigated the concept of fashion as art by examining whether or not university students, rather than professional art critics, consider fashion to be art. The survey subjects were 146 university students, randomly chosen from textiles and clothing-related classes offered in 4 different universities in Seoul. A survey with the following 3 questions was conducted between September 2005 and June 2006: 1. What is art? 2. Is fashion art? 3. Explain the reason why fashion is, or is not, art. Morris Weitz's open concept of art is applied to discuss whether fashion can be classified as art. According to Weitz, there are no universal commonalities among arts. Therefore, art can be defined based on similarities among preexisting art forms and movements. As a result, respondents mentioned the following as characteristics of art: expressiveness, creativity, influence on viewers' emotion, tendency to make life bountiful, particular behaviors or objects, something valuable, formalities, etc. These answers parallel the features of art discussed by professional art critics. In addition, 12 of the 146 respondents considered fashion was not art, 20 placed it on the border while the remaining 114 affirmed a positive relation. Respondents who considered fashion to be art or placed it on the border listed the similar features mentioned in the answers to the first question as similarities between fashion and art. On the other hand, features of fashion such as commercial, whimsical, impermanent and utilitarian properties were answered as dissimilarities between fashion and art. However, these dissimilarities do not serve as obstacles for considering fashion as art, since Weitz's open concept of art does not assume the existence of universal traits of art. Therefore, referring to Weitz's open concept of art, fashion can be considered as art, since reasonable similarities between fashion and art were designated by the majority of respondents.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권4호
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• pp.623-630
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• 2017

본 논문은 라즈베리파이3를 활용한 IoT 교육과정의 커리큘럼 설계요소를 도출하기 위한 한국의 IoT 사용서비스의 현황을 고찰한다. 첫째, 한국의 Korea Telecom(KT), LGU+ Telecome (LGT), SK Telecom(SKT)와 같은 3대 메이저 통신업체의 IoT 연구 및 상용서비스를 고찰한다. 둘째, 현재로서 IoT 교육도구로서 가장 적합하다고 각광받는 라즈베리파이3의 구성요소 및 장점을 고찰한다. 마지막으로 이 둘의 공통분모를 토대로 IoT의 사회적 수요인력을 양성하기 위한 라즈베리파이3를 활용한 IoT 교육과정의 중요 설계요소를 도출하게 된다. 해당 설계요소로는 플랫폼, 하드웨어, 소프트웨어, 빅데이터 네트워크가 있다. 이와 같이 도출된 라즈베리파이3를 활용한 IoT 교육과정의 중요 설계요소를 바탕으로 본 필자의 대학의 임베디드 시스템 과목을 1학기동안 교육하였고, 성공적으로 수강생 25명중 90% 이상의 우수 강의 만족도와 강의 분량을 검증하였다.

• 한국생산제조학회지
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• 제20권4호
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• pp.369-375
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• 2011

Design is important in the IT, digital appliance, and auto industries. Aesthetic and art images are being applied for better quality of the products. Most image patterns are complex and much lead-time is required to implement them to the product design process. A precise reverse engineering method generating 2.5D engraving models from 2D artistic images is proposed through the image processing, NURBS interpolation and 2.5D reconstruction methods. To generate 2.5D TechArt models from the art images, boundary points of the images are extracted by using the adaptive median filter and the novel MBF (modified boundary follower) algorithm. Accurate NURBS interpolation of the points generates TechArt CAD models. Performance of the developed system has been confirmed through the quick turnaround 2.5D engraving simulation linked with the commercial CAD/CAM system.

• 건축역사연구
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• 제21권4호
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• pp.59-70
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• 2012

This study aims to find methodical similarities between pop art and Robert Venturi's works. Pop art and Robert Venturi's works gave attention to periodical changes and wanted to communicate with the public. This study approaches a topic from psychological viewpoints, especially visual dissonance. The results are as follows: 1. Manufactured Products ; Commercial Ornaments ${\rightarrow}$ Character Changes in Experienced Stimulation 2. Daily Elements ; Traditional Elements(Classic) ${\rightarrow}$ Contextual Effect of Canonic Representation In these cases, visual dissonance attracted a lot of public attention, and people would develop new meanings of objet. Pop art and Robert Venturi's works indicated value change in post-industrial society, therefore, this study can help to understand the correlation.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• 무역상무연구
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• 제39권
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• pp.27-55
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• 2008

The concept of non-conformity is stipulated at Art. 35, CISG. According to the Art. 35, there is no directly stipulated concept of non-conformity. But Art. 35 said that the Seller must deliver goods which are of the quantity, quality and description required by the contract and which are contained or packaged in the manner required by the contract. Accordingly, the concept of non-conformity contains the conformity of quality, quantity, description, delivery of different goods and documents. Art. 39 does not specify the form of notice required. So parties can require a particular form by agreement. If there is no agreed form of notice, buyer' s notice must be sent by means appropriate in the circumstances. And Art. 39 states that the required notice of lack of conformity must be given to the seller. Notice of defects conveyed by the buyer to an independent third party is not found to have been given by means appropriate in the circumstances. And Art. 39 is subject to the parties' power under Art. 6 to derogate from or vary the effect of any provision of the Convention. When determining which requirement must be satisfied by the buyer is specifying the nature of any lack of conformity, a mixed objective-subjective standard should be applied, which has regard to the respective commercial situation of the buyer and the seller, to any cultural differences, but above all, to the nature of the goods. Also to determine the specificity requirement is to satisfy the purpose of notice of lack of conformity.

• 한국의류학회지
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• 제21권8호
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• pp.1427-1438
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• 1997

The art plastique is the part from which designers draw their inspirations to create fashion design. Many designers look for their inspirations from Art Plastique. Since the early 20th century, lots of designers led by Paul Poiret drew their inspirations from Art and co-works with artists. The direct involvement of those artists helped to position Fashion to be an art. Also, these co-works brought the mass media's attention and commercial profit. The most prevalent relationship between the fashion design and art plastique is the reproduction of art such as the 1960s 'Pop Art printed on T-shirts, which can be seen easily todays. After World War ll, art was popularized in a new society where young generation played a major role. Pop Art having image of the freedom and the rejection of tradition was considered as the major trend of 1960s. This study considers reflection of anti-traditionalism, anti-elitism and popularity as the kitsch of Pop. That is the attraction which youth culture looked for from Pop Art and the reason that 60's avast-garde cloth could position itself into the masses. Therefore, this study examines the influence of the kitsch of Pop and the expression of parody upon the major changes in 1960s fashion from which are the mini-look and women's trousers wearing. This study examines Andra Courreges who led 1960s Mini look and Yves Saint Laurent who introduced Pop dress, Smoking look and transparent blouse to find the way which makes it possible for avant garde fashion to have a close relationship with the public and to position itself to be a art.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.109-114
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• 2006

The world has become one united world so that it is worthless to divide it into two; the East and West. In the 20th century, eastern perspectives proliferated in western science involving theology, philosophy and psychotherapy. In this time of various trends of ideas emerged minimalism, artistic and cultural current seeking simplicity and conciseness. This current of idea appeared about the time of World War II in visual art, and then expanded to other fields like music, architecture, fashion and philosophy in diverse forms. Minimalism is also presented in interior space with extreme form of simplicity and detail, revealing parts of the space as delicate and pure style with emphasis on purity of the space itself. In this research, demonstrate clear features of eastern view of space appeared in minimalism of interior design mainly in America. The reason the scope of study is limited to America is that America is the origin of minimal art and has been hub of modern design since the 1930s. The research, first, finds out the origin and conceptual idea of minimalism and features of eastern view of space. Based on this understanding, further study has been carried to discover relation of minimalistic interior space to eastern view of space and to analyze eastern characteristic expressed in minimalistic space by examination of cases pertaining to commercial space.

• 미술이론과 현장
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• 제10호
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.