• 디지털융복합연구
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• 제19권4호
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• pp.227-233
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• 2021

20세기 이후 산업화한 소비사회에서 생산된 기성품들은 '파운드 오브제 (Found object)'라는 새로운 소재로 미술작가들에게 채택되어 작품 속에서 넓은 의미로 재해석 되고 있다. 이를 활용해서 새로운 의미를 부여하는 방법은 표현양식뿐만 아니라 개념적으로도 확장된 새로운 패러다임을 생성한다. 현대미술에서 최초로 파운드 오브제가 사용된 1912년 파블로 피카소(Pablo Picasso)의 이후 다다이즘과 초현실주의, 그리고 팝아트를 통해서 파운드 오브제의 전개를 파악하고 20세기 후반 파운드 오브제의 표현에 대해서 알아본다. 본 연구에서는 파운드 오브제가 작품에서 혼합된 방식에 따라서 '가공되지 않은 오브제', '변용된 오브제', 그리고 '차용된 오브제', 등 3가지 유형으로 구분하여 작가와 작품을 분석한다. 본 연구를 통해서 파운드 오브제를 융복합한 작품은 대상을 물질적으로 발전시킬 뿐만 아니라 미술의 전통적 규범에서 벗어나 자유로운 개념의 미술을 실천할 수 있도록 한다는 점에 주목한다.

• 대한가정학회지
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• 제20권1호
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• pp.1-10
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• 1982

This experiment was made on the basis of the general observation that silk fabrics is flaccid in sun light. The purpose of this test is to examine efficiency between the processed thread and the unprocessed one after putting the later under the xenon-lit system, which produces continuous spectrum of bright white beam similar to sun light. (i) Color division of silk thread : white, yellow blue (ii) light division and irradiation time : sun lightlongrightarrow210 hrs, Xenonlongrightarrow50,100, 150 hrs. Under the above conditions each object was be tested with and extensometer, TENSILON Type III for the results of (a) the weight-expansibility curve of the silk thread (b) the relationship between cutting in tensity and maximum, weight (c) maximum expansion rate (d) the expansion energy of the tested silk thread (e) the beginning pull-stretch resistance rate of the tested silk thread (f) color difference after processing The results are illustrated in the appropriate tables and figures. Consequently the generalobservation that silk fabrics is flaccid is relevant only in terms of color. So for as Cutting-intensaty is concerned, it turned out to be less flaccid than in color. On the contrary when the untested silk thread was conpared with the xenon-irradiated ones, the latter proved itself to be more flaccid in cutting expansibility than the former. We have learned through this experiment that, after the all rounds of this test, the color tone and chroma of the colored materials remained without significant change, where as their color value changed to a large extent.

• 복식
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• 제61권3호
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• pp.139-152
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• 2011

This research explores the idea of digilog for fashion; it would help to conclude the uncertain mixed-phenomena and words as a neologism and find a fundamental concept that would be a reference for a lot of uncertain new words that have been occurring even this year. Furthermore, this research is aimed at analyzing how digilog has been reflected on the contemporary fashion and directing the ways towards the future of fashion. The digilog fashion design is the expression of a combination of opposite extremes, that is to say the combination of a paradoxical mix and directly-opposed elements. The outward expression of fashion design with digilog can be classified into several ways. First of all, it tends to use the elements of paradoxical expression; for example, applying high-technology to express a primitive and natural material. The analog expresses unprocessed. Secondly, using high-tech machine to express the texture of handicraft or rough embroidery. Lastly, digital printing(DTP) is applied to enlarge the several or the whole parts of a natural object or sensitivity. As a result of the analysis, the inside view of the contemporary fashion with digilog delineate followings; it is the attitude that claims to go back to the past and accepts the combination of nature and high-technology to get calmness in the rapidly changing modern world. And it is the will to fly from the utterly exhausted reality through the recurrence of the past when there used to be a lot of energies and used to live in affluence.