• 한국산학기술학회논문지
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• 제21권8호
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• pp.123-129
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• 2020

본 연구는 하이데거의 『예술작품의 근원』과 청말의 문학이론가 유희재의 『예개』에서 나타난 동서양 예술에 대한 견해의 공통지평을 발견함으로 인하여 예술일반의 의미를 찾고자 하는 것이다. 이것은 이 두 사람만의 견해가 아닌 예술일반에 대한 가장 근본적인 개념일 것이다. 이러한 예술에 대한 근본개념을 동서양이 오래 전부터 공유하고 있었다는 것을 밝히는 것이 이 연구의 주된 목적이며, 이러한 근본개념은 현 시대의 예술에게 요구되는 사유의 핵심내용이다. 이 연구는 핵심적인 세 부분으로 나누어져 있는데 첫째는 언어와 사유가 어떻게 연결되어 있으며 이를 통해 예술의 의미가 어떻게 사유될 수 있는가이다. 하이데거는 "언어는 단순한 대화의 수단이 아닌 존재자체의 사유를 결정짓는 중대한 매개체"라 주장하는데, 『예개』에서도 이와 비슷한 견해를 발견하였다. 둘째는 하이데거가 주장한 "예술은 기본적으로 시짓기"라는 의미에 대한 『예개』와의 접점이다. 시짓기는 단순히 그 내용읽기나 이미지와 관계없이 '시어'를 통해 기투의 형태로 사유되지 않은 부분을 사유하게 만드는 것이다. 셋째는 하이데거의 '숙고하는 앎'에 대한 유희재의 상응하는 견해이다. 이러한 하이데거의 예술에 대한 주장과 중국고대의 문학예술 전반을 연구한 유희재의 견해를 비교함으로 동서양 예술의 공통 접점을 찾고자 하는 것이 본 연구의 핵심이다.

• 한국가구학회지
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• 제17권2호
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• pp.89-100
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• 2006

Minimalism describes various movements in art and design, which flourished mainly in the USA in the 1960s. Its popularity, however, was cut short by post-modernism. In the mid-1990s, minimalism was given a second breath of life and became culturally popular, especially in areas such as design and art the minimalist movement launched some trends that supplanted post-modernism and whose influences still cast a heavy shadow on society today. From this point of view, in analyzing the form and characteristics of the artists and their work from the 1960s, which were the first generation of the minimalist furniture designers, it is necessary to understand and analyze contemporary artists and their art. In this study, four American minimal artists in the furniture design field, Donald Judd, Richard Tuttle, Scott Burton, and Richard Artschwager were studied along with their works. The results show the three distinct characteristics of minimalist furniture design featuring strict and simple geometric shapes: the form, which was influenced by early modernism variety and origin, which are formative of the materials and the way they are used as influenced by surrealism and a new concept of art such as aesthetics for the little things, which echoes influences of Dadaism, and especially of earlier artists such as Marcel Duchamp.

• 한국가구학회지
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• 제20권6호
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• pp.543-551
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• 2009

The history repeatedly shows that designers have sought their creative inspiration from fine arts. was also influenced by contemporary art such as surrealism or installment works. This thesis aims to examine the inter-relationship between contemporary art and contemporary furniture design with examples of organic modernism and minimalism furniture design. Also, will be analyzed in light of such interdisciplinary relationship, explaining the significances of in scholastic perspective. The previous research analysis of finding out examples of how fine art and design sought mutual exchanges to develop will help to examine the significance of in the context of art history. This analysis could be used as an important academic material to understand the origin and characteristics of modern design furniture. The features of surrealism and minimalism will be discussed in light of their influences on and interactive relationship with organic modernism furniture design. This provides important basic material to further analyze . Furthermore, the artistic language and plastic features of contemporary sculptors and installment artists such as Jean Arp, Richard Serra and Anish Kapoor will be examined to show how integrated and combined main features of those artists. extracted cognitive and phenomenological aspects from Serra's works that overwhelm viewers with their massive scales. Somewhat abstract yet somewhat primitive and dynamic features of Arp's works was also referred to . are made of FRP, composed of three partitions and six stools. This work was analyzed in aspect of form, composition and function. They have organic and flexible formations with free composition availability which endow free disassemble and arrangement. Also, they have cognitive features as of small elements are freely dispersed upon spaces to bestow certain presences. Based on this, this thesis could develop scholastic researches that examine the mutual and interactive relationship between contemporary art and furniture design with much more detailed discussions and examples.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 조형예술학연구
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• 제10권
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• pp.111-159
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• 2006

The study is to examine the concept, origin, developmental process, and characteristics of 'Kioonsangdong,' or 'lively energy' to look into whether 'Kioon' maybe interpreted by modern sense and sensitivity and be applied to contemporary creative activities, and to explore whether the ideality of 'Kioon' may be transferred into visualization in pictures. The article defines the scope of 'Ki' as 'Ki(energy)' of artistry and sees the Wei, Chin and the South & North dynasties as its derived point. In Chapter I, before the examination of 'Kioon,' 'the relationship of Ki and Oon,' and 'interrelationship of Kioon (energy) and Sangdong (liveliness) are investigated. It is impossible to define Kioon in a word due to its being abstract. Thus, although it does not seem to be unlimited, focusing on putting a variety of concepts of Kioonsangdong in order, it classifies the subject, from which such Kioon reveals itself, into 'its former self,' things of the object,' 'character,' and 'brush and Chinese ink.' Then, with selected representative works for each category, it examines how Kioonsangdong is reflected in the works. In addition, it comprehensively argues on Kioon through presenting the points of Kioon theories by many an art critic and artist from the Wei, Chin and the South & North dynasties to modem China. In Chapter II, the study analyzes the Kioon-reflected works that have been examined in Chapter 1 in the light of the Kioon theories of 'blanks,' 'styles of brushmanship,' and 'techniques of Chinese ink,' and by selecting and analyzing representative artists and works in each era, it investigates how Kioon had been transformed as times had changed. In Chapter III, which is the core of the study, is on contemporary interpretations of Kioon. I intend to interpret Kioon as scent. In other words, through replacing abstract Kioon with the olfactory sense, actually realizing and forming it, and then visualizing it onto my own work, I attempt to grope for contemporary interpretations of Kioon. That is to say, I explain how Kioon is transformed into scent on the grounds that the origins of Kioon may be detected in literature and aesthetics. Besides, the study looks into the process that 'the scent of the olfactory sense' turns into 'the scent of art,' which I assert by contemporary interpretations, and shows in details that it may be visualized in pictures presenting quotes. In Chapter IV, it analyzes Kioonsangdong expressed visually as the scent of art in my own work in terms of the three techniques of blanks, brushmanship, and Chinese ink.

• 한국실내디자인학회논문집
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• 제34호
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• pp.140-148
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• 2002

This Study is concerned with the present condition and prospect of architectural stained glass in Korea. Stained glass had been architectural art from the origin. But it had declined since the Renaissance era, and began to revive in the early 20th century. The stained glass inflowed with church architecture occasionally by the western missionaries. And it has been developed actively since 1980' with the boom in church building. There are about 30 studios which are making stained glass in Korea, but very few studio work true architectural stained glass. Stained glass is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass.I have considered the problems and prospected architectural stained glass which inspire modern architecture with human sensitivity in Korea.

• 한국조리학회지
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• 제22권4호
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• pp.37-50
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• 2016

본 연구는 호텔 조리직원들을 대상으로 음식점 원산지표시에 대해 어느 정도 지식을 가지고 있는지, 그 지식 정도가 조리업무 중 하나인 원산지 표시 업무 수행에 어느 정도 영향을 미치는지를 파악하고자 하였다. 또한, 원산지표시에 대한 교육시간에 따라 지식의 차이 정도를 알아보고자하며, 교육시간이 지식과 수행도 관계에 어떠한 조절효과가 있는지를 파악하는 데 목적이 있다. 본 연구는 서울소재 특급호텔 10곳에 재직 중인 조리직원들을 대상으로 2014년 11월 14일부터 11월 27일까지 14일 동안 총 250부의 자기기입식 설문지를 배포하여 응답이 불성실한 설문지 4부를 제외한 246부(98.4%)를 사용하였다. 수집된 자료를 바탕으로 연구에 필요한 모든 자료의 분석은 SPSS 18.0 통계 프로그램을 활용하여 빈도분석, 신뢰성을 검증, 탐색적 요인분석, 단순회귀분석, t-test, 조절회귀분석을 하였다. 연구결과, 호텔 조리직원들의 음식점 원산지표시에 대한 지식은 업무 수행도에 유의한 정(+)의 영향을 미치며, 교육시간은 1~2시간 받는 그룹의 지식정도가 더 높아, 교육시간에 따라 지식이 차이를 보이고, 지식과 수행도 관계에 교육시간이 조절하는 것으로 조사되었다. 따라서 호텔조리직원들의 음식점 원산지표시 지식을 높이고 수행정도를 높이기 위해서는 교육시간을 늘려 조리직원들이 더 많은 지식을 학습하여 실제 업무에 사용하도록 하여야 할 것이다. 연구의 한계 및 향후 연구방향에 대해 논의 하였다.

• 기술사
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• 제32권1호
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• pp.122-141
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• 1999

Groupware is a new emerging research field, involving increasing numbers of institutions in the USA, Europe, and Asia such as Korea and Japan, etc., as an interdisciplinary research and development area with a strong computer science component. It grew from fairly unsystematic attempts by various developers to generate software that would increase the competence of people working together. This in turn was partly a response to: failures of and problems inherited from Office Automation and Management Information System ; some sociological intuitions about ways people might work together; and a search for uses of new interfacing, networking, and multi-media technologies. In this paper, groupware that has been configured to meet the needs of groups at work is defined as computer-based systems which support working groups of people engaged in common task in a shared environment. The basic concepts, origin, and historic research of the groupware are described. Specially, groupware relies on the approaches and contributions of many disciplines in computer science as well as sociology that is concerning human, social, and cultural activities. So, nine key disciplines of them upon which successful groupware depends are described briefly. Some state-of-the-art implementations and developments are reviewed through classifying and analyzing the current available groupware applications in the field or market.

• The International Journal of Costume Culture
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• 제3권3호
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• pp.212-222
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• 2000

This study intends to observe how the essential elements of art have changed Human's sense of beauty extending over the whole lives as well as fashion through the investigation of Light and Rays which have played a important role in giving birthe to the new trend of art within the upheaval age of various cultures. The peculiarities of which Futurism of Italy and Rayonism of Russia including Impressionism have a great role in giving birth to a new trend of art by means of the development of science technology are like these. Impressionists looked for the origin of the subtle harmony in nature within changes of sun-rays. The special feature of Impressionism paintings was to express the line of vision diversely according to changes of light rather than to focus on the line of vision with clear outlines. Henceforth, Neo-Impressionism which developed Impressionism more systematically leaded changes of Light and Rays more systematically and scientifically and maintained Divisionnisme techniques which extends to lead towards color and light through dividing and juxtaposing color. In the early 20th century Futurists tried to express dynamism through the interpenetration of light and revive color and light through the division techniques of color and persist an artificial light like eletricity rather than a natural light. Rayonism of Russia which was ifluenced from Impressionism and Futurism maintained intersection of reflecting rays which emerges from an object of things more deeply. This pursuit of light and rays also light and rays also appears as it is in modern fashion. First, it is the fashion which applied sun-rays persisted by Impressionists and expressed colors which show differently according to direction of light. Second, it is the fashion design which re-analyzed what Futurists expressed artificial light and rays. Third, it is the design which expressed Divisionnisme theory persisted by Impressionists and Futurists into fashion as it is and was made of being divided the form of glittering light into small dots. Fourth, it is the fashion design which applied Rayonists'work which applied intersection of reflected rays. Like this, it is aproved that the pursuit of light and rays expresses as it is in modern fashion of the 21st.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.3-10
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• 2008

This study is concerned with the process of development and architectural characteristics of secular stained glass in the 20th century. Stained glass had been architectural art from the origin. But it had declined since the Renaissance era, and began to revive in the early 20th century. Stained glass work is very flourish in Korea today, but it is still treated as simple decoration or 2-dimensional mosaic. Architect and interior designer even have little understanding of architectural character of stained glass. In order to recover the architectural nature of stained glass, I have considered the process of development of secular stained glass in the 20th century, and analysed the works of Frank Lloyd Wright, the postwar German artists, Georg Meistermann, Ludwig Schaffrath, Johannes Schreiter, and English artist, Brian Clarke. Major findings of the study are as followings : First, stained glass has come to life again from the secular glass painting decoration in the end of the 19th century, through Art-Nouveau, De Stil, Bauhaus in the beginning of the 20th century, and L'Art $Sacr\acute{e}$. Second, Frank Lloyd Wright, the postwar German artists and Brian Clarke have established the architectural concept and potentiality of the modem stained glass in the secular field. Third, They have done by coming back to the basic creative method by traditional lead-came technique in spite of the development of various materials and techniques. Forth, stained glass fundamentally has architectural characteristics as the characters of Space, Time, Place, Context, and they have showed the new possibility of stained glass by recovery of these characters.