• 복식
• /
• 제54권2호
• /
• pp.105-119
• /
• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• International Journal of Costume and Fashion
• /
• 제6권2호
• /
• pp.55-61
• /
• 2006

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

• Wind and Structures
• /
• 제34권5호
• /
• pp.407-419
• /
• 2022

Many factors should be considered by architects and designers for designing a tall building. Wind load is one of these important factors that govern the design of tall building structures and can become a serious challenge when buildings tend to be built very tall and slender. On the other hand, through the initial stages of a design process, choosing the design geometry greatly affects the wind-induced forces on a tall building. With this respect, geometric shapes with 3-fold rotational symmetry are one of the applied plan shapes in tall buildings. This study, therefore, aims to investigate the aerodynamic characteristics of 8 different geometrical shapes using Computational Fluid Dynamics (CFD) by measuring the drag and lift forces. A case study approach was conducted in which different building shape models have the same total gross area and the same height of 300 meters. The simulation was an incompressible transient flow that ran 1700 timesteps (85 seconds on the real-time scale). The results show a great difference between wind-induced force performance of buildings with different plan shapes. Generally, it is stated that the shapes with the same area, but with smaller perimeters, are better choices for reducing the drag force on buildings. Applying the lift force, the results show that the buildings with plan shapes that have rounded corners act better in crosswind flow while, those with sharp corners induce larger forces in the same direction. This study delivers more analytical understanding of building shapes and their behavior against the wind force through the parametric modelling.

• 보존과학회지
• /
• 제38권1호
• /
• pp.45-54
• /
• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• Advances in nano research
• /
• 제14권6호
• /
• pp.507-519
• /
• 2023

Postsurgical infections are caused by implant-related pathogenic microorganisms that lead to graft rejection. Hence, an intrinsically antibacterial material is required to produce a biocompatible biomaterial with osteogenic properties that could address this major issue. Hence, this current research aims to make strontium-doped hydroxyapatite nanorods (SrHANRs) via an ethylene diamine tetraacetic acid (EDTA)-enable microwave mediated method using Anodontia alba seashells for biomedical applications. This investigation also perceives that EDTA acts as a soft template to accomplish Sr-doping and mesoporous structures in pure hydroxyapatite nanorods (HANRs). The X-ray diffraction (XRD) and transmission electron microscopy (TEM) analysis reveals the crystalline and mesoporous structures, and Brunauer-Emmett-Teller (BET) indicates the surface area of all the samples, including pure HANRs and doped HANRs. In addition, the biocidal ability was tested using various implant-related infectious bacteria pathogens, and it was discovered that Sr-doped HANRs have excellent biocidal properties. Furthermore, toxicity evaluation using zebrafish reports the non-toxic nature of the produced HANRs. Incorporating Sr²⁺ ions into the HAp lattice would enhance biocompatibility, biocidal activity, and osteoconductive properties. As a result, the biocompatible HANRs materials synthesized with Sr-dopants may be effective in bone regeneration and antibacterial in-built implant applications.

• 만화애니메이션 연구
• /
• 통권36호
• /
• pp.669-702
• /
• 2014

오늘날 한국 현대미술에서 '만화이미지'는 작가의 '페르소나'의 역할과 예술적 담론을 위한 '텍스트'로 활용되며, 대중과 예술의 교두보 역할을 하고 있다. 본 연구는 한국 현대미술에서 '만화 이미지'의 차용이 어떻게 이루어졌으며, 그것이 갖고 있는 시대적 맥락은 무엇인지 살펴보기 위해 이동기의 <아토마우스>를 중심으로 고찰하였다. 이동기의 <아토마우스>는 한국 현대미술에서 최초로 등장한 만화 캐릭터이며, 하위문화가 하나의 예술로서 인정받는 상징성을 획득하고 있다. 본 논문은 이동기의 개인전 '<스모킹>展(2006), <버블>展(2008), <더블비전>展(2008), <불확실의 정원>展(2012), <성난 얼굴로 돌아보지마>展(2013),'을 중심으로 <아토마우스>의 변화가 시대적으로 어떤 맥락을 갖고 있는지 읽어내려 하였다. '팝의 결핍'의 시대에 아토마우스가 태어났으며, '팝의 과잉'의 시대에 변화를 시도하였고, '네오팝의 정착'과 함께 아토마우스의 행보가 끝이 났다. 작가의 무의식에서 출발한 아토마우스는 '미국과 일본' 문화에 영향을 받고 있던 대한민국의 '정체성', 하위문화가 하나의 예술로서 인정받는 '상징성'이 읽혀지며 당시 한국 팝아트를 대표하는 아이콘으로 부상하였다. 그 후 작가의 고민과 성찰이 담기면서 '페르소나'의 역할로 용도가 변경되며, 추상과 구상의 세계를 연결하는 도구로 활용된다. 종국에 가서는 자신의 손으로 창조물을 제거하며 페르소나와 얼터에고의 경계에서 <아토마우스>의 행보를 종료시킨다. 이동기가 <아토마우스>를 창조하고 변화시키는 과정은 한 개인의 작가론을 떠나 한국 현대미술사에서 팝아트의 출발과 성장이 담겨있었다. <아토마우스>는 공공미술의 형태로 지하철 벽면에 그려지는가 하면 다양한 매체와의 콜라보레이션을 통해 대중과의 호흡을 시도하였다. '만화 캐릭터'가 원래 가지고 있던 '상품성'을 십분 활용하며 순수 예술을 일반 대중에게 한발 가까이 다가서게 하였다. 이동기의 <아토마우스>는 하위문화를 고급예술의 영역에 올려놓음과 동시에, 고급예술의 문턱을 낮추었다. 이번 연구를 통해 패러디와 오마주 사이에서 어색하게 시작된 이동기의 <아토마우스>가 오늘날 한국 현대미술계에 어떤 위치에 있는지 확인할 수 있었다.

• 미술이론과 현장
• /
• 제4호
• /
• pp.7-32
• /
• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• 한국인쇄학회지
• /
• 제21권2호
• /
• pp.11-20
• /
• 2003

In Flexo printing machine, it's operated with combination of blanket cylinder and cylinder. The blanket cylinder has some number of grooves to attach the blanket on surface. In case of operating the printing machine, it has generate mechanical noise when the two cylinders encounter with the grooves. So, in this study, we developed a mechanical noise control algorithm of printing in servo control system. Then we have reduced the mechanical noise with control of servo actuator.

• 한국가구학회지
• /
• 제28권1호
• /
• pp.72-79
• /
• 2017

The knobs of the Joseon dynasty furniture were mainly made with metal in its consideration about durability and decorative characteristics, small pieces of furniture, the Kori types of knobs, big furniture, that desires, descendants. Meanwhile huge furniture had Butchimdae which can be used also as the locking mechanisms, or just the locks which were used as handle. The handle type included the idea of shamanism that desiring health and longevity, scholarly spirit and prosperity of descendants, therefore the design metaphorically contained the shape of the long-living and prolific animals and plants. Even though traditional furniture were constructed as succinct proportions and simple decoration because of the affect of Confucianism. Therefore, we can notice the hope forefathers indwelling in the handles made of metal.

• 한국인쇄학회지
• /
• 제23권1호
• /
• pp.53-63
• /
• 2005

The quality of the print can be specified through the quality of the coloring, the reproduction of fine structures and the range of tone values. Also, package printed quality are controlled by this points. In this paper, densitometry method was used for printed quality. By densitometry we can get the print density and the parameters of each conditions that characterize halftone printing, such as dot gain and relative printing contrast. Also, we have proposed the optimizes range of the parameters such as density, dot gain etc. to the package printed printability control.