• 한국실내디자인학회논문집
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• 제16권5호
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• 건축역사연구
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• 제12권2호
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• pp.21-39
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• 2003

After a digital modelling method has been introduced into architectural design in 1990s, a radical change was taken place in generating architectural form and space. Many architects have a view that digital modelling method is the most Important invention in the visual presentation since the moment that architect Philippo Brunelleschi experimented initially the linear perspective. Therefore, in this study, comparing between perspectiva artificialis and digital modelling method, we clarify 1) the relationship of architectural design and presentation method, 2) the practical and philosophical background inherent in digital modelling method which played key role in developing non-representational architecture, 3) and the principles of non-representational architecture like diagram, folding, and trace.

• 한국산학기술학회:학술대회논문집
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• 한국산학기술학회 2006년도 추계학술발표논문집
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• pp.290-293
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• 2006

본 연구는 웹 기반 선례검색 시스템을 개발하였다. 기존의 연구들에 대한 사례 조사를 통해서 지금까지의 선례 검색 방법의 한계: 변환과정에서의 의미 손실과 자료 공유의 시공간제한성 밝혔다. 해결책으로 의미기반 공통표현모듈을 도입하고 웹 환경을 이용하여 효과적인 선례검색 해결방법을 찾아냄으로써 검색과 자료 공유가 용이한 선례검색 시스템을 개발했다.

• 감성과학
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• 제26권1호
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• pp.33-42
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• 2023

기존의 연령별 얼굴정서 인식 비교 연구에서는 정서별로 연령 간에 어떤 차이가 있는지 밝혔다. 이에 Kim(2021) 연구에서는 개별 정서가 아닌 정서공간에서 표상된 정서를 연령 간 비교하였다는 점에서 의의가 있으나, 기술적(descriptive) 비교만 시행하였을 뿐, 통계적 유의미 검증을 하지 않았다는 한계가 있다. 본 연구에서는 표상 유사성 분석(representational similarity analysis) 방법을 통해 연령간 실제 데이터 및 정서 모델 유사성행렬을 직접적으로 비교하였다. 또한 개인차 다차원척도법(individual differences multidimensional scaling)을 통해 연령간 정서 차원에 대한 비중을 비교하였다. 그 결과 실제 데이터 비교에서 노년 집단은 청년 및 중년 집단과 가장 유사하지 않았으며, 쾌불쾌 차원이 포함된 정서 모델과의 유사성 비교에서도 가장 유사하지 않았다. 또한 노년 집단은 각성 차원에 대한 비중이 청년 및 중년 집단과 유사하지 않음이 발견되었다. 본 연구는 실제 데이터, 정서 모델, 그리고 정서 차원 비중이라는 세 가지 측정치에 대해 노년 집단과 청년 및 중년 집단과의 차이를 통계적으로 검증하였다는 점에서 의의가 있다.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.79-87
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• 2006

'Fantasy' in this study is Not something fantastic in the used to be-way we can Imagine easily. This study is to figure out 'fantasy' and 'the fantastic' as a significant measure to interpret the contemporary space-time. In particular, it analyzed that fantasy have influenced on some kind of specific trend what is expressed a tendency to contemporary interior designs of informal, indeterminacy and unpredictability. Fantasy is represented as 'the fantastic space' through spatial revealing, concealing, distorting, and connoting. Representation becomes a major issue in almost many kinds of knowledge-system that start from the mind to go out to the world in a realistic or idealistic way. Therefore, the fantastic space reconstructs the reality while making itself through to representational creation-process. It is Important for fantasy and the fantastic space to help detect behind beneath the reality more than what we know.

• 미술이론과 현장
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• 제3호
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• 한국컴퓨터정보학회논문지
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• 제20권11호
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• pp.47-54
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• 2015

In this paper, I examines the spatial representation of the change in the environment of the digital platform, and play the game with a focus on the spatial characteristics of a digital game. First, what is the Spatial characteristic of digital games? This section applies to a digital game "theory of Lefebvre", and the spatial representation of the practice space, divided into representational space were explored. Second, how to express dealing Is there space in the genre of adventure games? The spatial characteristics of the game medium through the Spatial characteristic of the adventure game genre that is most striking examples was analyzed whether the expression in any way. Consequently, the spatial characteristics of the digital game studies of the game as well as think a very large role in the development direction. In addition, this case analysis of the expression is the basis of this digital game that is utilized in many areas, and I am sure many possibilities to find a positive role in the game.

• 한국실내디자인학회논문집
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• 제24권4호
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• pp.51-60
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• 2015

This study aims to establish the foundation for a simultaneity research, draw the potential through Bergson's simultaneity, and explore a space with the possibility of a continued change, focusing on the simultaneous process, in which physical mobility and consciousness of space last together. First, this study was focused on understanding Bergson's simultaneity, on the basis of the perspective that space needs to have more active, dynamic mobility. For understanding Bergson's simultaneity, the understanding of Bergson's duration conception, memory and perception was preceded. After that, the characteristics of simultaneity were extracted from the concepts of duration, change, memory and perception and its characteristics, which are connected to space, were analyzed. As a result, the study on simultaneity that was intensively analyzed, based on diverse cases, re-awakened the basis of value or thought, which we must aim at, in space design of the present time. This shows the possibility of another creative form that can be found in spaces of the present time and serves as the foundation to discover an essential and potential value of space in space design. Moreover, the combination of space with science, humanities, art and digital media technology demonstrated once again that there is a good possibility of approaching non-representational space that is pursued today and it is anticipated that using Bergson's simultaneity as a medium for spatial combination in their relationship would help in drawing deeper internal meaning and potential of space.

• 한국실내디자인학회논문집
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• 제19권4호
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• pp.39-47
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• 2010

As various materials and new methods can be used due to developments in science and expansion of thinking, modern architectural color composes extensive possibilities exceeding its physical role of the past. In particular, rather than the initial external expression, the secondary connotative interpretation is more important in interpreting architectural color. This is because color interpretation changes the meaning of space based on light. Also, the development of digital technology has shifted the use of architectural color from passive realization to a more proactive concept and value. In other words, such shift leads to a new discussion on architectural color such as non-representation, invisibility, and non-physicality as the concept of fixed time, space and movement has been weakened. This paper begins by conceptualizing the digital space, a term widely used to interpret the architectural color of digital space. And it will be categorized as non-representational architectural color, invisible architectural color, and non-physical architectural color, by combining the characteristics of digital space with the modern architecture's color examples. Digital space overcoming the space time is differently interpreted from the past color expression. Modern architecture's color which substitutes the passive view with active body takes a role delivering various axes of discussions with synaesthesia.