• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.558-565
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• 2016

Recent 3D printing technology has been grafting onto various medical practices. In light of this trend, this research is intended to examine the figuration surface's accuracy of 3D images made by using DICOM images after printing by 3D printing. The medical images were obtained from animal bone objects, while the objects were printed after undergoing STL file conversion for 3D printing purposes. Ultimately, after the 3D figuration, which was obtained by the original animal bones and 3D printing, was scanned by 3D scanner, 3D modeling was merged each other and the differences were compared. The result analysis was conducted by visual figuration comparison, color comparison of modeling's scale value, and numerical figuration comparison. The shape surface was not visually distinguished; the numerical figuration comparison was made from the values measured from the four different points on the X, Y and Z coordinates. The shape surface of the merged modeling was smaller than the original object (the animal bone) by average of -0.49 mm in the 3D printed figuration. However, not all of the shape surface was uniformly reduced in size and the differences was within range of -0.83 mm on the experiment.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.171-184
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• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.

• Journal of The Korean Digital Architecture Interior Association
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• v.8 no.2
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• pp.5-12
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• 2008

Since the past, an attempt of figuration which is for movement, time and force has existed constantly. A process of representative from expressed on the movement, time and force creates events, and the process through the events expresses the idea of a simulacre. Furthermore, Architectural works for potentiality to give a demonstration are in common with hybrid characteristics, and have lasting creation of flux architecture. Ignoring the gravity of the floating figuration, so it appears unrealistic hyperphysical virtual space that easily could make the life of creation. For this reason, the form generation based on the digital design method is expressed the important method. In conclusion, actualizing the virtual is the suitable way for 'devenir architecture' based upon the Deleuze Guattari's idea of 'simulacre' and creating the from generation on the contemporary digital architecture design in a similar way.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2005.06a
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• pp.1551-1554
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• 2005

The Titanium has many superior characteristics Which are specific strength, heat resistance, corrosion resistance, organism compatibility, non-magnetic and etc. and their quantity are abundant. this study performed turning operation of Ti-6Al-4V alloy using the TiAlN Coate Tool which treated PVD (Physical Vapor Deposition). Experimental works are also executed to measure cutting force, chip figuration and surface roughness for different cutting conditions. As a result of study. Tool wear was serious at over 100m/min of cutting speed and cutting condition was excellent at 1.0mm of cutting depth.

• Journal of the Korean Society of Manufacturing Process Engineers
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• v.3 no.4
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• pp.81-87
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• 2004

The titanium has many superior characteristics such as specific strength, heat resistance, corrosion resistance, organism compatibility, non-magnetic and etc. and their quantity are abundant. This study performed turning operation of Ti-6Al-4V alloy using the TiAlN coated tool which was treated with PVD. Experimental works were also executed to measure cutting force, chip figuration and surface roughness for different cutting conditions. As a result of study, tool wear was serious at the condition over 100m/min of cutting speed. The excellent cutting condition of cutting depth was at 1.0mm.

• Proceedings of the Korean Society of Machine Tool Engineers Conference
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• 2004.10a
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• pp.451-456
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• 2004

The Titanium has many superior characteristics Which are specific strength, heat resistance, corrosion resistance, organism compatibility, non-magnetic and etc. and their quantity are abundant this study performed turning operation of Ti-6Al-4V alloy using the TiAlN Coate Tool which treated PVD (Physical Vapor Deposition). Experimental works are also executed to measure cutting force, chip figuration and surface roughness for different cutting conditions. As a result of study. Tool wear was serious at over 100m/min of cutting speed and cutting condition was excellent at 1.0mm of cutting depth.

• Proceedings of the KSR Conference
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• 2004.10a
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• pp.527-532
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• 2004

As well as the vibration comfort in passenger coaches largely affects passengers, it is one of the most important factors that passengers would betray their dissatisfactions among various elements, such as noise, lighting, couches, seat-arrangement, ventilation, temperature, odor, cleanliness, etc., consisting of comfort in passenger coaches. The wheel-tread figuration in the dynamic behavior of trainsets significantly affects the vibration comfort such as the running safety and the running stability. In this study, therefore, I will examine the dynamic characteristic in passenger coaches in accordance with the variation of wheel-tread figuration during the high-speed traveling with the target of trainsets (KT23 bogie), which are operated as the passenger coache in Korea, and any variation that will exert baneful influence on the vibration comfort accordingly.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.79-101
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• 2010

In "The Animal That Therefore I Am (More to Follow)," Derrida notices that he is being watched by his cat. He becomes ashamed of being naked in front of his cat. The sense of shame is a response to being reduced to the level of an animal. He is ashamed of being as naked as an animal. His next move is, therefore, to cover his nakedness from the gaze of his cat. By contrast, he realizes, the animal is not self-conscious of being naked and so does not shield its nudity. In a truer sense, then, the cat is not naked. Humans do not see animals for what they really are but what they project on them. Whereas the gap between man and animal is clearly identified by Derrida's philosophical discourse, the possibility of going beyond the gap can be suggested by fantasy stories in children's literature. Children's literature in Britain arose in the eighteenth century with the revival of traditional fairy tales and growth of literary fairy tales. Romanticism in the early nineteenth century contributed to opening up a new horizon for the concept of the child, in which the child is no longer defined as the object to be tamed and childhood imagination is glorified as a powerful means to reach the higher state, the spiritual origin prior to separation of Man from the 'thing-in-itself.' In The Wind in the Willows, animals talk and behave like humans. The anthropomorphic figuration of animals can be understood as a result of the one-sided projection of anthropocentric perspectives on animals rather than an interaction between humans and animals. Significant contradictions also emerge in this story, however, as traits particular to animals are vividly delineated even as the main didactic theme of good triumphing over evil reflects an anthropocentric projection on animals. An attempt to capture the true characteristics of animals and locate them in the text constitutes a remarkable achievement in The Wind in the Willows. This can be evaluated as an important step toward a more ecopocentric perspective on animals which appears in later children's fantasies like Charlotte's Web.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.164-165
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• 2005