• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.663-668
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• 2023

This paper describes a mobile application that can recognize and identify cats residing on a university campus using the Google's machine learning platform, 'Teachable Machine'. Machine learning, one of the core technologies of the Fourth Industrial Revolution, performs an efficient task of finding optimal results through data learning. Therefore, the model is learned and generated using the platform based on machine learning, and then implemented as an application for smartphones, so that cats can be identified simply and efficiently. In this application, if you take a picture of a cat directly on the spot or call it from the gallery, the cat is identified and information about the cat is provided. Though this system was developed for a specific university campus, it is expected that it can be extended to other campuses and other species of animals.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.70-90
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• 2023

This study aims to use Art brut works-the artwork of the socially underprivileged and alienated-to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut's concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann's work were collected through online sources like the Gugging Museum's website, Christian Berst Gallery's website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann's works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann's works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann's work is a color block design of fashion, which utilizes the formative fun.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.91-97
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• 2024

Recently, with the rapid development of digital media technology, Realistic content that stimulates users' five senses is being used in various fields. This study focused on the case of the development of the Korea Industrial Complex Corporation's public relations center as the subject of the study to study the realistic content development process of public enterprises. First, the realistic content development process was divided into 10 stages and practical guidelines were presented to help develop realistic content in the future by presenting important development points and methods at each stage. Second, among the realistic content development processes, the importance of storytelling was analyzed at the scenario stage. Third, various methods of displaying content were analyzed. In the case of the Korea Industrial Complex Corporation's public relations center, it was proposed in three ways: story video, experience video, and media wall. It is suggested that the role of branding, promotion, and PR can be performed in one public relations center through an effective development process.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.64-73
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• 2015

Describing the filmography of Yong-ho KIM simply in a few sentences is considered nearly impossible. For the last 20 years and longer, KIM has been building up his career energetically as he never lets himself obsessed with any particular boundaries or areas but work on everything from paper advertisements to art galleries, advertising photographs and pure photographs. The Photolanguage personally mentioned by Yong-ho KIM himself is to visualize this imaginary story in a form of photograph, which one would come up with before shooting. When it comes to the advertising photographs, since they are used basically to sell products, they are considered rather temporary, and in addition, they photograph the products mostly under these bright lights with colorful backgrounds behind. However, Yong-ho KIM was recognized for presenting very much different work as he went even beyond these old stereotypes of the advertising photographs. The advertising photographs processed by KIM do more than merely introducing details or functions of some products, but they deliver these values and cultures that consumers can enjoy and gain through these original stories about the products. Of several pieces of KIM's work, this advertisement on Hyundai Card named was invited to an exhibition by a private gallery after the work was exposed through various media. The work was even purchased, and that was something that had not happened before in the history of the relevant field. When a photograph is purchased, it makes the photograph recognized for its value to be possessed, and when a photograph is displayed, it, again, makes the photograph win recognition as an art work. This thesis discusses the Photolanguage found in the works of Yong-ho KIM, one of the most well-known advertising photographers in South Korea. The research inquiries that have been analyzed in the body of the thesis, therefore, are the photographs and language in the digital era, the story-telling advertisements and these works by Yong-ho KIM.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• The Journal of Art Theory & Practice
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• no.10
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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.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Archives of design research
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• v.11 no.1
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• pp.161-172
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• 1998

The evolution of computing environments caused various dharges in our society. The change cj instruction media is one of these effects. WWW using network techndogy is regarded as a pov.powerful tool for rerrote instruction. The methods of utilizing network technologies in design instrudion and design process rould be diversified comparing with those of other general instruction. Computer graphics has been regarded as a very use!u design tool for its accuracy and rapidty. Network can help us to do creative work using cornplter graphics. The merits of this technology are sharing resources and rraking it easy to roIlaborate. Recent cxxnputer graphics instruction has some defects in oontents and methods. The oontents have a weak relationship with other industrial design subjects. From above, the purpose of this thesis is to use computer graphics and netv.urk technology for supporting basic design instruction. Virtual gallery using WWW can be a cyberspare v.tlere the evaluation of results and the exchange of information take plare. This tool makes it easier to oomrunicate and oollaborate with dassmates. A casestudy-Composition with basic objectswas exea.rted by individual for distributed asynchronous rmde. The results of this thesis are summarized for four factors. Rrst, it was easy to transform idea. Serond, student-oriented working was performed. Third, interaction among students was activated. Fourth, not only final results, but also midterm results was oonsidered for evaluation. These methods also have problems as rerent instruction methods, but it rould be used as a instruction tool to compensate for existing instruction methods.

• Korean Association of Arts Management
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• no.49
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• pp.37-63
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• 2019

This study aims to find out how the photographing affects the satisfaction of visitor experience in the art gallery. We surveyed the visitors who visited the exhibition hall. In order to see if the selfie photographs positively affect the visitor satisfaction level, one-way ANOVA was conducted and the mediating effect of the flow and the moderating effect of narcissistic tendency and involvement was examined. As a result of study, First, in the relationship between photography and satisfaction, the group who took a photo but did not take a self-shot showed higher satisfaction than the group who did not take a photo and self-shot in the exhibition area. This result shows that photographing the art work in the exhibition hall gives experience-based satisfaction to the visitors, but self-shot does not show positive effect on the satisfaction. Second, the hypothesis that the flow degree will play a mediating role of the visitor's experience-based satisfaction in the relationship between art work photo-shot and self-shot type in exhibition hall was rejected. Third, the positive effect of involvement was shown only in the groups that did not take self-shot but took pictures in the exhibition hall. This shows that the satisfaction of the self-shot visitor is not affected by the degree of involvement of art. The results of this study are expected to help determine the policy for permission to take photographs in art galleries.

• Tunnel and Underground Space
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• v.33 no.3
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• pp.109-125
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• 2023

Disposal repository for high-level radioactive waste secures its safety by means of engineered and natural barriers. The performance of these barriers should be tested and verified through various aspects in terms of short and/or long-term. KAERI has been conducting various in-situ demonstrations in KURT (KAERI Underground Research Tunnel). After completing previous experiment, a conceptual design of an improved in-situ experiment, i.e. K-COIN (KURT experiment of THMC COupled and INteraction), was established and detailed planning for the experiment is underway. Preliminary characterizations were conducted in KURT for siting a K-COIN test site. 15 boreholes with a depth of about 20 m were drilled in three research galleries in KURT and intact rock specimens were prepared for laboratory tests. Using the specimens, physical measurements, uniaxial compression, indirect tension, and triaxial compression tests were conducted. As a result, specific gravity, porosity, elastic wave velocities, uniaxial compressive strength, Young's modulus, Poisson's ratio, Brazilian tensile strength, cohesion, and internal friction angle were estimated. Statistical analyses revealed that there did not exist meaningful differences in intact rock properties according to the drilled sites and the depth. Judging from the uniaxial compressive strength, which is one of the most important properties, all the specimens were classified as very strong rock so that mechanical safety was secured in all the regions.