• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 추계학술발표대회 논문집
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• pp.113-117
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• 2007

Wabi-Sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty. It occupies roughly the same position in the japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West. All things air impermanent. All things are imperfect. all things are incomplete. it offers an aesthetic ideal that uses the uncompromising touch of mortality to focus the mind on the exquisite transient beauty to be found in aoo things impermanent. Wabi-Sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional. Wabi-Sabi is the art of everyday life. These may be the methods for the relationship establishment between human and space on the ground of Wabi-Sabl concepts which is commonly found no in contemporary interior space in japan.

• Journal of Multimedia Information System
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• 제4권3호
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• pp.123-144
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• 2017

Personalized media includes user-targeted and user-generated content (UGC) exchanged through social media and interactive applications. The increased consumption of UGC presents challenges and opportunities to multimedia information systems. We work towards modeling a deep structure for content networks. To gain insights, a hybrid practice with Media Framework (MF) is presented for network creation of personalized media, which leverages the authoring methodology with user-generated semantics. The system's vertical integration allows users to audition their personalized media networks in the context of a global system network. A navigation scheme with dynamic GUI shifts the interaction paradigm for content query and sharing. MF adopts a multimodal architecture anticipating emerging use cases and genres. To model diversification of platforms, information processing is robust across multiple technology configurations. Physical and virtual networks are integrated with distributed services and transactions, IoT, and semantic networks representing media content. MF applies spatiotemporal and semantic signal processing to differentiate action responsiveness and information responsiveness. The extension of multimedia information processing into authoring enables generating interactive and impermanent media on computationally enabled devices. The outcome of this integrated approach with presented methodologies demonstrates a paradigmatic shift of the concept of UGC as personalized media network, which is dynamical and evolvable.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.110-118
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• 2011

Today aesthetics expression could be a 'Everyday-life Beauty', because today art & design are closely related with a contemporary life. This thesis dealt with a everyday-life and sensitive design which sublimate from everyday-life material to the concept of aesthetics, such a purpose of this thesis establishes a base of everyday-life design through everyday-life aesthetics. This purpose made to pay attention to Japan's aesthetics concept, because Japan has been maintained and developed its own everyday-life aesthetics. Even if Japan doesn't have only everyday-life aesthetics, it is useful that is studies as some kind of a prototype. So this study analyzed about a everyday-life aesthetics and the expression method through the case-study of Japan. According to Yonagi Muneyoshi and Leonard Koren, the Wabi-Sabi has three conceptual characteristics like impermanent, incomplete, and imperfect and six expression characteristics like implication, tranquility, simplicity, coarseness, purity, and association. This study process is as follows. In the first a vocabulary of interior design was derived from three conceptual characteristics and six expression characteristics, and spatial facts was abstracted from it, and then volume, form, and then shape of composition facts of interior space was extracted from it. Finally the expression characteristics of the Wabi-Sabi in interior design was derived from these processes. In conclusion, the expression characteristics of the Wabi-Sabi in interior design is the transitional space through a Shadow, the conversional space through form and material composition, and the copying space through a natural friendship.

• 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.

• 대한조선학회논문집
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• 제43권1호
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• pp.119-127
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• 2006

Recently as a result of excessive development. pollution of the coast and occurrence of a typhoon year after year, fishermen suffer heavy losses in fish farming which is the one of the most important earnings ways. For solution of these problems, we need to go out into the open sea from an inland sea. In this study we suggested new fish cage which makes up for the structural weakness of existing wooden fish cages. It can farm fishes in the open sea of high wave and current with no damages from a typhoon. We substituted TPU(Thermoplastic Polyurethane) air chamber for existing styrofoam flotage which was harmful to the environment and impermanent. We used PE(Polyethylene) pipes for the maintenance of formation and the prevention of buoyancy loss caused by a breakdown of flotage. PE b rackets were designed to combine PE pipes with TPU air-chamber flotage. It has good strength and light weight. As a result of modeling test. it is great in buoyancy, strength and flexibility against wave. Because it can control buoyancy arbitrarily, moreover, we expect that it will reduce damages of a red water by applying it as semi-submerged fish cages.

• 철학연구
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• 제123권
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• pp.347-377
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• 2012

우리는 마음을 나타내는 수많은 용어를 가지고 있다. 이를 크게 분별심과 무분별심이 관계에서 이해할 수 있다. 이는 마음에 대한 이해가 우리의 언어적 분별에 의해 이루어지고 있다는 점에 기인한다. 어떤 것에 대한 분별이 일어날 때, 우리는 그 분별에 의하여 나타난 마음[분별심]을 인식할 수 있을 뿐 아니라 그 분별을 벗어난 본래 마음[무분별심]도 함께 생각할 수 있기 때문이다. 대체로 불교에서는 마음을 일체와의 관계 속에서 바라보고 그것을 연기적 관점에서 이해하여 왔다. 초기불교와 부파불교에서는 마음에 대한 분별적 접근이 주로 이루어지고, 그 분별심의 생성과 소멸을 연기의 법칙으로 설명하였다. 이때 분별심은 연기된 것으로 무상한 것이며, 찰나적인 것이다. 그러나 결코 분별심을 허망한 것으로 부정한 것은 아니다. 한편 대승불교에서 용수는 연기의 본질을 '공(空)'으로 파악하고 연기를 순차적 의존관계가 아닌 동시적 의존관계로 이해하였다. 용수는 공을 통하여 분별심의 허망성을 지적함으로써 분별 이전의 무분별심을 직접 볼 수 있게 한 것이다. 무분별심은 언어적 분별(허망분별)을 떠난 자리이기 때문에 말로 설명할 수 없는 것이지만, '불공(不空)'의 측면에서는 여러 가명(假名)을 통하여 심층의식이나 본성에 대한 접근이 시도될 수 있었다. 여기서 공사상이 분별의 허망성을 지적하는데 초점을 두었다면, 화엄사상은 분별의 진실성을 일체가 연기되어 있다는 일승연기의 입장에서 제시하고 있으며, 나아가 일체가 모두 본성이 그대로 현현한 성기(性起)임을 밝힘으로써 무분별과 분별(참 분별) 모두를 긍정할 수 있는 길을 열어주었다. 화엄사상에서는 '분별심' 혹은 '무분별심' 자체를 밝히는 데 중점을 두기보다는 무주(無住)의 입장에서 분별과 무분별의 관계를 밝힘으로써 마음에 대한 온전한 이해를 시도하고 있다. 연기적 관점[연기문(緣起門)]에서는 분별의 세계에서 무분별의 세계로 들어가는 역할을 하고 있으며, 성기적 관점[성기문(性起門)]에서는 무분별의 세계에서 분별의 세계마저 드러내는 역할을 하고 있기 때문이다. 이러한 관점은 마음에 대한 온전한 이해를 위해서도 중요하지만 분별에 집착하는 마음병을 치유하는 데에도 유용하게 적용될 것이다.