• 한국실내디자인학회논문집
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• 제16권2호
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• pp.163-171
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• 2007

The present study approached the characteristics of various space compositions in contemporary residential architecture through the concept of ex-formality, and found that ex-formal spaces are composed through the variation of floor, wall, ceiling or roof and derived four types of ex-formal space composition - ex-cubic space composition using folding, plastic space composition using the plasticity of concrete, atypical space composition using geometric manipulation, and non linear space composition using digital technology. Based on this, additionally, we derived elements expressing the characteristics of ex-formal space composition, which are obliqueness, inclination, flexibility in ex-cubic space composition using folding, plasticity and fluidity in plastic space composition using the plasticity of concrete, ex-construction, dynamism and asymmetry in atypical space composition using geometric manipulation, and flexibility, fluidity, self similarity and plasticity in non linear space composition using digital technology. On the other hand, this study purposed to help understand various space expression patterns of contemporary residential architecture by analyzing how these types of ex-formal space composition and polysemous expression characteristics have been represented in contemporary residential architecture since the 1990s.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.120-130
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• 2006

This study is about objectified spatial composition. The Interior Design field has grown and established its major trends dependent upon other related field of study. With this perspective in mind, esthetics on Interior Design has to be treated in similar manner. In modem architects or fine artists have defined the terminology 'objectification' theoretical principle where by unable to distinguish between 'object's type' and 'objects', Presently, the term 'objectified' became a trend word. In order to confront misconception of the idea of 'objectification', some people define as reflection of this complex society. There are five types in expression of objectified spatial composition in Interior Design. Which are free form spatial composition through artistry of artists, fantastic spatial composition by polysemous collision, symbolic spatial composition from the metaphorical of form, aggregate spatial composition by geometric collision and geometric superimposition, and cultural spatial composition. Therefore, this study aims to help understanding of tendency in various space expressions in Interior Design through searching how to express type of objectified spatial composition in Interior Design from 2000 through 2005.

• 한국의류산업학회지
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• 제17권5호
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• pp.691-703
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• 2015

Indeterminacy maintains that the simultaneous measurement of object location and speed is theoretically impossible. This study present indeterminacy as a theoretic tool to interpret a variety of expression characteristics that seem disorderly in recent fashion illustrations; in addition, it analyzes the characteristics and meaning of indeterminacy as expressed in fashion illustrations. This study reviews concepts and related theories on indeterminacy to examine characteristics of indeterminacy expressed in the arts and fashion; subsequently, indeterminacy characteristics found in fashion illustrations are analyzed. In expressing the fashion figure, indeterminacy finds expression in a distorted figure transformations that include a hybridized combination of heterogeneous forms that dismantle and reconstruct the human body. The hybridized body of combined machines, animals and plants indicates an indeterminate body endlessly transforming itself. Indeterminate space expression finds expression in space expression by projection with the overlapping and juxtaposition of irrelevant constituent elements as well as a space expression from the insertion of unexpected images. An unclarified inconclusive open space provides space with fluidity, causes space expansion and conveys inconclusive meaning. Indeterminate expressions found in fashion illustrations reveal the ambiguity and complexity of a post-modern society with polysemous aesthetic values and the expanded visual concepts of fashion illustrations.

• 한국언어정보학회지:언어와정보
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• 제6권2호
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• pp.15-32
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• 2002

These analyses can be roughly classified into two groups: the first argue that the delimiter -to is polysemous so that it delivers either additive or concessive meaning; the second contend that it is monosemous and only conveys emphatic or concessive meaning. The current analysis mainly focuses on its two roles with regard to focus and its meaning. On the basis of the findings, a different analysis is proposed that it serves as an indicator of the presence of a type of focus which is hosted mainly by the expression it attaches to. Furthermore, it is solely responsible for the additive force, and the seemingly relevant emphatic or concessive import is derivable from an emphatic or concessive illocutionary operator which is associated with the focus indicated by -to.

• 복식
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• 제61권1호
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• pp.1-19
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• 2011

The purpose of this study is to pursue the way of human body expression for prospecting of future fashion illustration through research of the methods and meaning expressed in the works of 30 years by Antonio Lopez. The research was conducted by looking into the perception of the body between 1960s and 1980s, when Lopez worked actively, on the basis of the discourse, art and fashion for the femininity and studying the representation method and meaning of the body in his works. Lopez suggested an index of the ideal beauty of the times through the representation of the immature body like a child in the 60s, the glamorous body in the 70s and the exaggerated muscular body in the 80s by predicting the changes of the perception of femininity and ideal beauty. As the result of this research, it is found that Lopez employed the art form for the representation of the body in his works and presented the polysemous implications of the art form in the context of the body expression. In addition, he redefined sexuality by focusing on the code that confronted the conventional women's morals by changing the representation method of the women's pose, and depicted the other's image such as the colored races, departing from the ideal human body based on the white women. Lastly, he deconstructed the human body in various ways, thereby enlarging the concept of the human body in the existing fashion illustration.

• 디자인학연구
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• 제19권2호
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• pp.273-282
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• 2006

초기의 애니메이션은 단순히 삽화에 움직임을 줌으로서 살아있는 듯한 표현의 리얼감을 목표로 하였다. 이후 애니메이션은 미디어 기술의 발달과 인간의 의식변화, 그리고 사회현상들의 다양한 변화에 의해 영향을 받고, 영향을 끼쳐왔다. 그 중에서도 1946년에 처음 등장한 컴퓨터는 애니메이션의 리얼리티 표현의 도구를 더욱 다양화시켰고, 나아가 표현 매체의 지적능력 향상을 초래하여 새로운 시각영역의 확대와 의식을 확장하는 다원적인 영상정보 환경으로 바뀌었다. 또한 이 기술은 모든 영역에 있어서 보편적 질서의 해체와 다의적이고 다양함과 모호함, 그리고 때로는 서로 모순적인 요소들이 함께 내포하고 있는 포스트모더니즘 속에서 애니메이션은 기존의 리얼리티(지각적 리얼리티와 반영적 리얼리티)에서 새로운 돌파구를 찾아야만 하였다. 따라서 애니메이션은 단순한 화상처리라는 기술의 벽을 넘어서서 논리적인 지각과정의 경로보다 빠르고 즉흥적이고 감성적으로 지각할 수 있는 리얼리티로의 전환을 이루게 된 것이다. 이를 본 연구에서는 '감각적(感覺的) 리얼리티'라고 명명하며, 이에 관한 연구의 일환으로서 질 들뢰즈(Gilles Deleuze,)의 공간에 관한 리얼리티를 실제 애니메이션영화에 적용하여 해석하고 있다.

• 영어영문학
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• 제53권2호
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• pp.243-260
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• 2007

This article explores how Richard Powers' The Gold Bug Variations, an interdisciplinary novel through the new concepts of biocriticism and bioliterature is connected with literature/art and science/technology. Powers uses Edgar Allen Poe's "The Gold Bug" and Johann Sebastian Bach's "The Goldberg Variations" for decoding DNA in order to analogize a genomic metaphor. He imagines literature as "the book of life" genome, written by DNA code due to the complexity and multiplicity of the genome. His novel, as 'genomic narrative,' shows the articulation of the genomic reading, and expression in the life language through the discourses of the information technology and the rhetorical tropes in biology. New biological ideas are continually required to articulate these processes. In the present tendency of the Human Genome Project, such advanced devices as biocybernetics offer the potential to open up new possibilities to researching the complexity of the genome. This can only happen if the following two ideas are followed: One is to comply with advanced technologies for processing the rapidly increasing data of the genome sequence; The other is to admit the necessary paradigm shift in biology. As shown above, the complexity and multiplicity of the genomic reality is not so simple. We must go beyond determinism, even if representation of a biological reality reveals the possibility of expressing its constituent elements by the advanced biotechnology. Consequently, in the unstoppable advances of the art of decoding the genome, The Gold Bug Variations interrelates to the interdisciplinary approaches through the rhetorical tropes that unfold the complex discursive world of the genome. Powers shows that the complex mechanisms of the genome in the microworld of every cell as the plot of "the book of life" can be designed and written using DNA language. At the same time, his genomic reading and writing demonstrate the historical processes of the shifting center of new genomic development and polysemous interpretation.