• Journal of Science of Art and Design
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• v.10
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• pp.161-181
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• 2006

The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Science of Emotion and Sensibility
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• v.9 no.1
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• pp.49-61
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• 2006

The present mobile phone industry has significant effect on the domestic economy and has taken root as the core item that has the responsibility to lead the Korean economy for a considerable period of time. As the mobile phone market becomes gigantic, the mobile phone is being used by people in broader age bracket, and functions or designs preferred by people of various age are getting more diverse. Like that, as the mobile phone has greater effect on and meaning in our daily lives, consumers of mobile phone have growing expectation of the mobile phone Now, the core function of voice communication via the mobile phone is not a great concern to consumers. But the function, such as more convenient and friendly information input and output, processing and storage, and the design, which is more sophisticated and optimized for the user environment, are being demanded, not just the simple voice communication. And as the modern design is getting more similar to the objects of traditional high art consumed by consumers every day, the aesthetic aspect of design can play an important role, as the factor that differentiates the product, in creating new value which forms the spiritual and emotional value of human beings to improve the quality of living, and in addition, the willingness of consumers to buy is determined by the design that they prefer the most. Like that, a new design of mobile phone based on a new dimension and preferred by the consumers the most is urgently required to be developed by shedding light on the factors related to the preference of consumers on the basis of the analysis on the aesthetic aspect, which can be said to be the most critical factor in the design process. Therefore, this study aims to identity the common preference and different factors of aesthetic aspects through the analysis on the aesthetic aspects of the mobile phone preferred by users among countries, and figure out the formative artistic factors of aesthetic aspects that are considered to be important, in order to propose the guideline on the aesthetic aspect of mobile phone that can be applied to the design of mobile phone practically.

• Journal of the korean academy of Pediatric Dentistry
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• v.27 no.2
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• pp.318-332
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• 2000

The purpose of this study was to investigate the effects of demineralized freeze-dried bone (DFDB) on mechanically exposed pulp of dog by evaluating the pulpal inflammation and healing process, formation of dental hard tissue, and structural changes of fibroblasts of the remaining pulp tissue. Teeth of 4 dogs, weighing 10kg, were used in this study. Class V cavities were prepared followed by exposed the pulp tissue mechanically by sterilized round bur. In control group, exposed pulps were capped with calcium hydroxide paste followed by sealed with IRM. In experimental groups, the exposed pulps of one group were capped with the collagen and those of the other group were capped with DFDB. All cavities were sealed with same manor as control group. The animals were sacrificed at the intervals of 3, 7, 14, and 28 days for histopathlogic evaluation. The specimens were observed by the light microscope and trans-electron microscope. The results were as follows: 1. Pulp necrosis was not observed in all groups. Inflammatory response was disappeared from 1 week in control group and group 2. But it was not disappeared until 2 weeks and also irregular arrangement of odontoblasts was showed at the lateral walls of root canal just beneath the amputated site of the pulp in group 1. 2. Dentinal bridge was formed incompletely at 2 weeks but it was formed completely at 4 weeks in control group. Odontoid tissue was also found in control group at 4 weeks from treatment. Amputated site of pulp was encapsulated with fibrous tissue and odontoblast and dentinal bridge was not found in group 1. Preodontoid tissue and reparative dentin which were formed by odontoblast differentiated around DFDB were found, but dentinal bridge was not found in group 2. 3. Cell with large basophillic-stained nuclei infiltrated to amputated site and DFDB at 1 week from treatment in control group and group 2. They were found more in group 2 than in control group. Odontoblasts arranged more regularly and reparative dentin was found more as time elapsed. 4. Dentin-formative odontoblasts which showed ultramicrostructure of cytoplasm with polarized nucleus, rEM, Golgi complex, secretory granules, secretion of organic matrix in control of group and group 2. In regards to above results, the demineralized freeze-dried bone(DFDB) induce odontoblastic differentiation and further come up to the dentin formation in amputated pulp.

• Archives of design research
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• v.13 no.1
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• pp.209-218
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• 2000

The purpose of this study was to improve the curriculum for industrial design department in the junior colleges. In order to achieve the purpose, two methodologies were carried out. First is job analysis of the industrial designers who have worked in the small & medium manufacturing companies, second is survey for the opinions of professors in the junior colleges. Some results were as follows: 1. The period of junior college for industrial designers is 2 years according to present. But selectively 1 year of advanced course can be established. 2. The practice subjects same as computational formative techniques needed to product development have to be increased. In addition kinds of selection subjects same as foreign language, manufacturing process, new product information and consumer behavior investigation have to be extended. 3. The next subjects need to adjust the title, contents and hours. (1) The need of 3.D related subjects same as computer modeling, computer rendering, 3.D modeling was high. The use of computer is required to design presentation subjects. (2)The need of advertising and sale related subjects same as printing, merchandise, package, typography, photography was low, the need of presentation techniques of new product development was high. (3) The need of field practice, special lecture on practice and reading original texts related subjects was same as at present, but these are not attached importance to form. As the designers feel keenly the necessity of using foreign language, the need of language subject was high.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.29-39
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• 2015

This study has attempted to determine the micro-discourse from blogs as personal media that reflect citizens' actual opinions of the Seoul Forest without intervention of experts. Furthermore, a qualitative research method discourse analysis was selected to analyze the micro-discourse regarding the Seoul Forest in a time series. The extracted samples of blogs by year were intended to identify the comment section of the process of change and the discursive structure. The results are as follows; first, from the beginning of the development of the Seoul Forest to the present, it is divided into four chronological periods along with individuals' micro-discourse with social changes. During the beginning of the development of the Seoul Forest, the social discourse was formed, and in the next period, the micro-discourse was developed with a more emotional and complex discourse. In the formative period, four or five years later, the discourse reflected the civic consciousness of development more than ever, showing the diversity of participation in the program at the Seoul Forest. In the growth period, as the users' experiences had been accumulated, the users started writing about the role of the Seoul Forest in their own words. This can also be called place discourse. From the individuals' micro-discourse, this study shows the discourse structure of how individuals think about the Seoul Forest in each period. Unlike the experts, the micro-discourse contains specific daily interactions, experiences, and the stories of individuals who actually use the parks. It also shows how users reproduce and understand the space. In this respect, this is the most significant finding of this study. Based on this research, this study has demonstrated that the emotional description of a place that actually functions as a discourse about city parks, and confirms that blogs could be used as a space to form discourse and as a research tool to read the trends. In accordance with these results, this study has described not only the discourse of experts, but also how the discourse of individuals' comments can be an important part of the discourse of modern urban parks.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.