• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.6
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• pp.793-804
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• 2005

The new paradigm of the 21st century demand an openly different world of formative ideologies in respect to art and design. The purpose of this study is focused on trying to comprehend aesthetic essence of clothing as an, with the investigation of artistic theories manifested by art philosophers. Art to Wear was categorized into style to understand its artistic meaning as well as to analyze its character. Upon the foundation of semiotics theory, the feature of Art to Wear and its analysis category were argued in the context of Charles Morris three dimension of semiotics analysis. The conclusion to the research is like so. The feature and analysis category of Art to Wear upon a semiotics perspective was divided into syntactic dimension, semantic dimension and pragmatic dimension. The analytical categorization upon the perspective of syntactic dimension fell into the category of topology, shape and color. The semantic dimension of Art to Wear was divided into categories of denotation and connotation. In addition, the pragmatic dimension of Art to Wear analytical categorization was divided into a delivering function and common function.

• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

• Journal of Korean Academy of Nursing
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• v.32 no.3
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• pp.364-372
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• 2002

The purposes of this study was to find aesthetical-ethical paradigm of care ethics by understanding the unique moral character of care as an art and to suggest the optimal direction of nursing ethics. Method: This study used meaning-heuristic and -interpretive methods of hermeneutics based on philosophical aesthetic theory; Baumgarten's aesthetics, Schiller's theory of aesthetical education and Kant's theory of aesthetical judgement. Result: The concept of care implied aesthetical and ethical character; caring as an art was related to moral feeling based on human dignity und emotional communication in interpersonal-relationship. Caring as an art was interpreted as a moral ideal for the promotion of the humanity und the interaction in personal-relationship according to nursing theories. Philosophical aesthetics could provide the theoretical base for the interpretation of caring as an art. The proper paradigm of care ethics in nursing could be found in character-trait ethics and communication ethics according to the philosophical aesthetics. Conclusion: This study could show aesthetical-ethical paradigm of care ethics in nursing by the heuristic interpretation of caring as an art according to the philosophical aesthetics

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.2
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• pp.93-104
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• 2019

Minimal art, which began to flourish in the mid-1960s, explores perceptual situations caused by the involvement of objects in given site contexts. This has led to the mentions of minimal art as a site-specific art, but its limitations have also been pointed out. This study specifically addresses the limitations of minimal art as a site-specific art with two perceptual points of view. First, according to Michael Fried, situations described as 'now here' focus largely on the bodily experiences of a place. However, they do not rooted in specific time and space of a certain place. Second, the unique characteristics of a certain place are excluded from the perception of the body which occupies the passage of time. Self-sufficient algorithm, which is far from site-specific conditions, is the autonomous system creating the period in the way of arrangement of objects. In addition, Minimal art regards a body only as the objectivity excluding the subjectivity which is essential creating meaning in a place. In the latter part of the article, these features are dealt with through Donald Judd's works. This study on site-specificity also provides a new perspective on the discussion of Minimal architecture and Minimal landscape.

• Proceedings of the Korean Society for Quality Management Conference
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• 2006.11a
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• pp.251-259
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• 2006

Evaluation of the work of art with intention of the artist different is not a possibility of free oneself from the limit which estimates an evaluation at value of appreciator. We tried new interpreting about the work of art in this paper. The work of art respects the intention of the artist to make it and interprets intention until now. After critics distinguish by a period, an area that they set to philosophical thought which is the time and interpreted. We set to each one subjectivity and interpreted between artist to make the work of art and appreciator. But in this paper, we tied various criteria which appreciates the work of art. We tried so that we presented the intimacy each other newly. Otherwise we tied with the subjectivity of the individual and are the try to be an objectification low through statistical technique. We looked into the culture and art in the introduction and explain the discussion about the work of art interpreting which the main subject. We set the category 6 area, and explain an each criteria explanation and assessment method. We tried to propose new interpreting as the intimacy to be multivariate data analysis result of the assessment analysis. Stopping from the thing which sees the work of art knows, it will be able to give meaning thing from this research prerequisite.

• Journal of Korean Academy of Nursing
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• v.28 no.2
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• pp.414-430
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• 1998

The main purpose of this study was to provide understanding of the meaning of post menopausal womens' lived body changing experience. The methodological approach was guided by Van Manen's hermeneutic phenomenological methodology : inquiring and investigating experience as it was lived rather than as conceptualized : reflecting and analyzing the essential themes which characterize the phenomenon : and describing the phenomenon through the art of writing and rewriting. Multiple strategies for data collecting were used ; in depth face-to-face interview ; analysis of womens' writings : artistic work : and analysis of examples of phenomenon in art, literature, and drama. Although the experience was different for all of the women interviewed, essential themes of experience emerged ; Drifting through the years (solitude, in the twilight of life, loneliness, change of taste, forgetfulness, the sense of missing something), A walking weather forecast, Standing on the threshold of losing ki energy, Lately taking care of my body, Seized with fear all of a sudden, Keenly feeling the preciousness of life, Preferring comfortableness to prettiness, Wanting to recall my past years, A strong impulse to rechallenge life, Becoming more fond of friends. Findings from the artistic and creative inquiry further validated the interview findings and the meaning discovered. The study illuminated meaning and simultaneously validated the phenomenological research process. Essential themes for understanding women's experience, implications for education, research, and practice, direction and need for continuing inquiry were identified.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.140-153
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• 2009

In the 21st century called an age of culture and art beyond the information and technology, many companies are developing various art marketings. Cases of the art marketing especially utilizing Korean features among art marketings are being increased recently. It is creating new values as a characteristic based on the cultures value of Korea. This thesis examined cooperative product development focusing on collaborative trends between designers, artists and companies through research on product and art marketing using Korean features. Additionally, by studying features of culture promotional event including exhibition and contest sponsorship, advertisement and packaging and the meaning of futures art marketing were discussed. Though, to date, academic researches have not been thoroughgoing enough in this field, it is considered that cultural product commercializing cultural particularity can strengthen the national image with acknowledgement of the global value as the art marketing using Korean features can contribute to improve recognition and the national image. Based upon this study, the value of Korean features on which custom culture of Korea dwells will be able to give a help to the designer and artist for progressing collaboration with companies as well as the companies for introducing new cultural characteristic to marketing, in the future-proof point of view. Additionally, it will be able to help the government planning the policy for intensifying the national image as a reference.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.911-922
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• 2002

This research aims to study comparatively on the aesthetic characteristics of the Technology Art and Technology Fashion Images in the 20th century. For this purpose, literature survey and demonstrative study were undertaken. The results were as follows ; As the concept of the art in the 20th century has been broadened by the development of technology and the creative application of it in the art, the relationship of the art and fashion has been much closer. The Technology Art and Technology Fashion Images in the 20th century have been developed by using technology itself and its artifacts directly or indirectly to express their attitude on the advancement of technology of the time. The plasticity of the Technology Art and Technology Fashion Images in the 20th century was identified as geometrical forms, high-tech materials, futuristic colors and lights and dynamic expression. The internal meanings of the Technology Art and Technology Fashion Images in the 20th century were identified as functionality, arrant-garde, utopian future orientation to improve human's life.

• Journal of Industrial Convergence
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• v.20 no.7
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• pp.115-122
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• 2022

Modern University students easily experience identity turmoil. The purpose of this study is to explore the process of recovery of univercity student who lose the meaning of life and feel depressed and lethargic by Logo-therapy, and to seek therapeutic use in counseling. As a result of the analysis, Loss of meaning and confusion in life, Expressing the will to pursue meaning, Meaning of life recovery and re-implication, 3 categories and 10 subcategories were derived. Through other Qualitative research. I hope that more results will show that Logo-therapy restores the meaning of life to university students. It can be used as therapeutic data to seek university student's meaning of life by Logo therapy.

• Journal of architectural history
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• v.16 no.2
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• pp.43-58
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• 2007

This paper attempts to interpret the meaning of Mies van der Rohe's famous aphorism that "less is more" in terms of space. From his assertion that the art of building is the spatial execution of spiritual decisions, one can presume that his art of building was revealed through his spatial execution consciously guided by creative principles. One of his spatial principles was less is more a representative motto for the creation of sparsely furnished space with few objects and little perceptible architecture. After his awareness of an open plan, Mies intended to create less architecture by designing a minimal form of structural frames and maximum openness of open plans and glazed walls. This study posits that Mies created more potential space, for which he intended his open plans and neutral frames to be viewed as less. His building was designed to serve as the background of works of art and the changing nature outside so restrained its own existential voice in favor of the achievement of total harmony.