• 비교문화연구
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• 제20권
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• pp.347-370
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• 2010

In the latter part of the $20^{th}$ century, the road in American culture has been identified with independence, mobility, and speed, but in his seminal poem, "Song of the Open Road," Walt Whitman characterized road journeys as simultaneously physical, intellectual, and spiritual, a view embraced by Vincent Van Gogh whose Terrace of a Caf? at Night illustrates in paint what Whitman said in words. Others such as Jack Kerouac in On the Road followed in Whitman's tradition, one taken up even more recently by David Lynch, whose films are best known for a condemnation of American suburban life, but whose Straight Story evokes a profound spirituality as part of the road. This essay explores spirituality in these various texts.

• 한국컴퓨터정보학회논문지
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• 제24권3호
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• pp.49-56
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• 2019

The purpose of this study is to analyze the characteristics and meanings of Instagram hashtags related to the exhibitions as a online communication platform of museums. At the same time, it focuses on efficiency of hashtags as a reference framework of inferring viewing experiences. We collect and visualize Instagram hashtags of exhibitions held in Korea for the past two years including 'Paper Present (2017)', 'YOUTH (2017)', 'Monet, Draw Light Exhibition (2018)', 'Van Gogh Inside (2016)', 'Drawn by the Wind: Shin yun-bok & Jeong Seon'. To sum up, significant data related to viewing experiences are not derived, and hashtags as a reference framework of inferring viewing experiences are turned out to be inefficient. Meanwhile, we conclude that potential for distributing information about the exhibitions is inherent in hashtags. In terms of informational characteristics, we notice that the influence of hashtags related to regional information is presented more than the response toward the viewing experiences. This result shows that Instagram users in the exhibitions are worthy of place making rather than viewing experiences.

• Molecules and Cells
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• 제46권12호
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• pp.757-763
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• 2023

In this study, we examine whether a change in the protein levels for FOP in Ankyrin repeat and SAM domain-containing protein 1A (ANKS1A)-deficient ependymal cells affects the intraflagellar transport (IFT) protein transport system in the multicilia. Three distinct abnormalities are observed in the multicilia of ANKS1A-deficient ependymal cells. First, there were a greater number of IFT88-positive trains along the cilia from ANKS1A deficiency. The results are similar to each isolated cilium as well. Second, each isolated cilium contains a significant increase in the number of extracellular vesicles (ECVs) due to the lack of ANKS1A. Third, Van Gogh-like 2 (Vangl2), a ciliary membrane protein, is abundantly detected along the cilia and in the ECVs attached to them for ANKS1A-deficient cells. We also use primary ependymal culture systems to obtain the ECVs released from the multicilia. Consequently, we find that ECVs from ANKS1A-deficient cells contain more IFT machinery and Vangl2. These results indicate that ANKS1A deficiency increases the entry of the protein transport machinery into the multicilia and as a result of these abnormal protein transports, excessive ECVs form along the cilia. We conclude that ependymal cells make use of the ECV-based disposal system in order to eliminate excessively transported proteins from basal bodies.

• 디지털융복합연구
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• 제16권5호
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• pp.455-461
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• 2018

본 연구는 명화 차용 광고의 유형(인터렉티브형/ 인쇄광고형)과 조절초점(촉진초점/ 예방초점) 간에 기억 효과와 광고태도 효과를 싱험을 통해규명하였다. $2{\times}2$ 피험자간 요인설계를 하여 Two Way MANOVA분석을 통해 검증하였다. 명화 차용 광고 실험물은 '빈센트 반 고흐'의 '자화상'을 변형하여 조작하였다. 연구 결과, 첫째, 촉진초점 소비자들은 명화 차용 인터렉티브 광고를 인쇄광고보다 광고 관련 정보를 많이 기억하였으며, 광고 태도 역시 촉진초점 소비자들은 예방초점 소비자들과 비교하여 인터렉티브 광고를 긍정적으로 인식하였다. 둘째, 예방초점 소비자들은 촉진초점 소비자들과 반대로 명화차용 인쇄광고를 인터렉티브 광고보다 제품 관련 정보를 회상하는 경향이 두드러지게 나타났다. 이에 명화차용 광고를 기존 인쇄 광고나 방송 광고에서 확장하여 IT 기술과 접목한 인터렉티브 형태로 제작하여 흥미를 유발하여 기억과 태도에 영향을 미치기 위해서는 디지털 미디어를 통한 접근이 효과적이라 할 수 있다. 본 연구는 명화차용 광고를 인쇄 뿐 아니라 인터렉티브 미디어로 확장하여 실증적으로 연구되었다. 그러나 향후 연구에서는 명화광고의 유형을 다양화하여 실험을 할 필요성이 제기된다.

• 디지털융복합연구
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• 제20권4호
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• pp.565-573
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• 2022

본 연구는 COVID-19 팬데믹 여파로 생활 속 거리 두기 상황 속에서 해외 미술관들이 고안해낸 여러 비대면 프로그램들에 대한 한국 MZ 세대의 반응과 선호요인을 분석하고자 한다. 대영 박물관을 비롯하여 내셔널갤러리, 폴 게티 미술관, 반 고흐 미술관, 우피치 미술관, 헤이스팅스 컨템포러리, 구겐하임 미술관 등은 창의적이고 시사적인 온라인 프로그램을 통해 폐관기간 동안에도 박물관의 사회적 역할을 이어나가고자 했다. 많은 접속자와 호응으로 주목받은 10개의 프로그램들을 선정하여, 국내에서 뮤지엄 관람이 가장 빈번하고 디지털 활용도가 높은 MZ 세대를 중심으로 설문조사를 실시하여 앞으로 우리나라가 강구해야 할 온라인 프로그램 개발에 방향을 제시하고자 한다. 연구 결과, 기술이 접목된 비대면 관람 방식이 실제 뮤지엄 공간에서 관람하는 느낌을 최대한 구현하는지와, 온라인 전시 콘텐츠에 교육적인 내용이 포함된 것을 선호함을 보여주었다.

• 한국멀티미디어학회논문지
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• 제25권2호
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• pp.374-381
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• 2022

This study analyzes the visual perceptual difference of observers in the artworks created by human artists and artificial intelligence(AI) through eye-tracking. More specifically, the study analyzes the degree of visual attention through a fixation experiment on non-linguistic sources such as the formation and expression of artworks. As a result of this study, the subjects had guessed that one out of four artworks were created by AI (in actuality, 61.1% of the artworks were created by The Next Rembrandt). This demonstrates that most of the subjects hardly recognized the difference between the artwork of human artists and AI. From the comparative analysis of visual perceptual differences found through eye-tracking, more visual attention was found to be demanded for catching details of more stimulating visuals compared to less stimulating visuals. In the gender difference analysis, both of the female and male subjects were likely to stare more intently at the flowers of still-life paintings (Deep Dream & Vincent Van Gogh) while the eyes of a portrait painting (Rembrandt & The Next Rembrandt); this demonstrates no significant differences in gender. Various opinions on AI and art creation from different perspectives arose, therefore, this research is meaningful in a way that it suggests an objective examination through experiments with an artistic perspective.

• 복식문화연구
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• 제19권2호
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.