• 조형예술학연구
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• 제12권
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.

• Asian Pacific Journal of Cancer Prevention
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• 제17권8호
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• pp.3663-3673
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• 2016

Cervical cancer (CaCx) is the second most fatal cancer contributing to 14% of cancers in Indian females, which account for 25.4% and 26.5% of the global burden of CaCx prevalence and mortality, respectively. Persistent infection with high-risk human papilloma virus (HPV- strains 16 and 18) is the most important risk factor for precursors of invasive CaCx. Comprehensive prevention strategies for CaCx should include screening and HPV vaccination. Three screening modalities for CaCx are cytology, visual inspection with acetic acid, and HPV testing. There is no Indian national policy on CaCx prevention, and screening of asymptomatic females against CaCx is practically non-existent. HPV vaccines can make a major breakthrough in the control of CaCx in India which has high disease load and no organized screening program. Despite the Indian Government's effort to introduce HPV vaccination in the National Immunization Program and bring down vaccine cost, challenges to implementing vaccination in India are strong such as: inadequate epidemiological evidence for disease prioritization, duration of vaccine use, parental attitudes, and vaccine acceptance. This paper reviews the current epidemiology of CaCx and HPV in India, and the current status of HPV vaccination in the country. This article stresses the need for more research in the Indian context, to evaluate interventions for CaCx and assess their applicability, success, scalability and sustainability within the constraints of the Indian health care system.

• 복식문화연구
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• 제17권1호
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• pp.132-148
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• 2009

The objective of this article is to examine the possibility of 'story-telling' as united concept of causality and subjectivity through sequence combination, and the 'similarity' between object and image in fashion photographs making diversity of meanings. To analyze and investigate the research, as evidential data this paper used the photos of Steven Meisel from 2002 till 2007 Vogue published in Korea, U.S, and Italy, as well as other visual data like graphic collections, catalogs, art-related data and internet data. This research runs both theoretical and positive investigations to suggest the function of story-telling in the Process of opened-communicative roles of fashion photos. Thus this paper investigated Steven Meisel's storytelling in his fashion photos; short moment of event, continuity of time, compound of sequence, and complexity of viewpoint. This paper also studied the aesthetic characteristics of Steven Meisel's fashion photos as categories of overlapped meaning, arbitrariness of interpretation, exclusivity of message, and decoding. The research result suggests that clothing not only includes current age's value but also among social constitutions it includes multilateral characteristics. Ultimately this paper is also making meaning alive by cutting off the chain of 'firm' meanings of fashion photo. That seems like opening the opportunity for correctly understanding fashion's meaning which has the aspects of ambivalence of changing meanings and values by the motivation of context and text.

• 한국게임학회 논문지
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• 제15권2호
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• pp.63-72
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• 2015

아바타는 <나의 분신>이라 불리는 사이버상에서 캐릭터를 이르는 단어로, 본 연구에서는 MMORPG 게임에서 자신을 치장하며 실제 자기표현과 이상화(理想化) 기능을 하는 캐릭터로 정의하였다. 본 연구를 통해 멀티 아바타와 성별 전환 사이에서 작동하는 유병률(有病率)을 설명하는 것을 목적으로 하였다. 본 실험을 위하여 선행된 방법은 유저에게 지정된 게임 연습과 질문을 미리 제공하였고, 이는 선행적으로 사용자에게 게임 동기를 발생하여 아바타 생성에 도움을 주고자하는 것이 목적이었다. 본 연구를 통해 연령, 성별과 성전환 사이에 상관관계를 살펴보았고, 비 전형적인 방식에서는 성전환 가능성이 높아졌고 일반 참가자 또한 절반의 성전환 선택의 경향을 보여주었다. 마지막으로, 경험의 성격 특성에 대한 경험에 대한 개방성은 성별과 유사한 상관관계를 보였다.

• 복식
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• 제38권
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• pp.51-72
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• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• 복식
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• 제65권8호
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• pp.50-63
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• 2015

The purpose of this study is to explore the potential of digital graffiti as a new creative tool in fashion through analysis of its expressive features and methods merged in fashion. The results from the analysis of fashion cases using digital graffiti may be summarized as follows. First, 'Mixing of Materials and Non-materials' matched immaterial lights and images with physical clothing materials and space, effectively expressing imaginary spheres that were not expressible with the existing materials. Second, 'Fantastic Storytelling' expressed theme such as 'Sun', 'UFO', 'Science Fiction Film', 'Fantasy Fairy Tale', and 'Universe' through lasers, lights, augmented reality and LED graffiti. Third, 'Convergence with Human and Digital Media' accentuated the active participation of spectators thereby causing human and digital media to interact with each other. Designer's ideas and unexpected responses of spectators realized various digital graffiti effects, which came across by sheer chance. Fourth, 'Utilizing of Site-Specificity' met with the best results when the digital graffiti was expressed in context of a place or location where fashion performance is taking place. Fifth, ' Playfulness by Consumer Participation' intended to induce voluntary participation from consumers by providing the fashion digital graffiti as play tools, and created new fashion digital graffiti or altered existing stereotypes, thereby invoking new visual and tactile experiences. Likewise, today's digital graffiti are emerging in various fields, and the trend of fashion-digital graffiti integration has already created interesting works.

• 한국콘텐츠학회논문지
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• 제8권4호
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• pp.17-29
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• 2008

컴퓨터 그래픽스에서 물을 애니메이션하거나 다양한 특수효과를 표현하기위해 유체역학의 기술들이 사용되고 있다. 하드웨어성능이 높아지면서 이전에 불가능했던 알고리즘들이 실시간으로 가능해지고 있기는 하지만, 정밀한 표현에는 여전히 많은 시간이 소요되며, 성능과 사실성 사이의 균형을 위한 다양한 기술들이 연구되고 있다. 특히 게임과 같은 문맥을 가지는 곳에서 사용자의 요구에 의해 바다나 호수 같은 넓은 지역의 물표면과 객체의 상호작용을 표현하기 위해서는, 물리적 사실성을 어느 정도 희생하더라도 시각적인 사실성을 유지하는 범위에서 실행 성능을 높이는 것이 우선시 된다. 본 논문에서는 물표면과 객체의 상호작용에 의한 다양한 물표면의 형태변화를 선형 컨벌루션 기법과 경계구를 이용하여 실시간으로 자연스럽게 애니메이션하는 방법을 제안한다.

• 복식
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• 제63권2호
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• pp.45-54
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• 2013

With the development of digital technology, clothes of unique textiles using the digital printing techniques have appeared as a creative trend in textile design. The development of digital textile printing technology has allowed the fashion industry to utilize it as an expressive method of a surrealist trend in current fashion designs, and so it is necessary to understand and study this phenomenon. The present study is an attempt to understand this modern fashion phenomena from an artistic perspective by looking at textile designs that applied actual images to textiles, so that this trend in fashion design can be better understood. In this context, this study aims to examine characteristics and expressive techniques of d$\acute{e}$paysement, automatisme associated with digital textile printing by using actual images among surrealist expressions, and to investigate creative expressions of textile design freely expressing the visual boundary between reality and surrealism with the development of digital technology. For research methods, we reviewed technical texts and previous studies related to our research topic for theoretical exploration and investigated the Internet data and used them for basic data. In the case study, we came up with the characteristics and meanings by classifying fashion design cases using digital textile printing techniques according to expressive techniques of surrealist d$\acute{e}$paysement, automatisme. Details of this study are as follows: First, it investigates the definition and expressive characteristics of d$\acute{e}$paysement, automatisme of the surrealist expression for its theoretical understanding. Second, it comes up with the characteristics by analyzing the digital textile cases from the perspective of d$\acute{e}$paysement, automatisme. Third, it deduces the expressive methods and characteristics of digital textile printing from a the perspective of surrealist d$\acute{e}$paysement, automatisme based on the resulting characteristics. The conclusions show that d$\acute{e}$paysement, automatisme, which consists of improvisation and coincidence, maximized the mysterious images of derealisation and mysterious primitive images. These things emphasized the characteristics of maximization of images, derealisation, and rationalization of irrationalism.

• Asian Pacific Journal of Cancer Prevention
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• 제13권8호
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• pp.4169-4172
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• 2012

Background: The majority of women in rural India have poor or no access to cervical cancer screening services, although one.quarter of all cervical cancers in the world occur there. Several large trials have proven the efficacy of low-tech cervical cancer screening methods in the Indian context but none have documented the necessary components and processes of implementing this evidence in a low-resource setting. Methods: This paper discusses a feasible model of implementation of cervical cancer screening programme in low-resource settings developed through a pilot research project carried out in rural Tamilnadu, India. The programme used visual inspection of cervix after acetic acid application (VIA) as a screening tool, nurses in the primary care centres as the primary screeners and peer educators within Self-Help Women groups to raise community awareness. Results: The uptake of screening was initially low despite the access to a screening programme. However, the programme witnessed an incremental increase in the number of women accessing screening with increasing community awareness. Conclusions: The investigators recommend 4 key components to programme implementation in low-resource setting: 1) Evidence-based, cost-effective test and treatment available within the reach of the community; 2) Appropriate referral pathways; 3) Skilled health workers and necessary equipment; and 4) Optimisation of health literacy, beliefs, attitudes of the community.

• 문화기술의 융합
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• 제6권3호
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• pp.261-266
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• 2020

슈테이너 바술카(1940-)와 우디 바술카(1937-2019) 부부는 초기 비디오아트의 선구자로서 그들 특유의 실험적 예술을 비롯해 동시대의 아방가르드 퍼포먼스와 음악, 시각예술 세계 전반의 변화를 이끌어 냈다. 두 예술가는 디지털 수단들에 의해 변화하는 비디오이미지 프로세싱 작업을 위하여 엔지니어와 협업하며 기계장치를 개발하거나 응용하여 디지털이미지 변형 실험을 수행했다. 그들에게 비디오아트는 단순한 기록의 수단이 아니었다. 바술카 부부의 예술적 실천은 예술의 전통적인 규범이나 비평적 담론에 얽매이지 않고, 인간의 시각과 기계의 시각을 공존하게 하는 적극적인 미적 전략의 일환이었다. 특히 그들의 비디오아트는 미디어 테크놀로지가 커뮤니케이션 체계를 지배하기 시작한 시대에 비디오를 핵심적 미디어로 인식하고, 비디오카메라에 의존하지 않으면서도 움직이는 이미지를 전자적으로 조작할 수 있는 예술가의 권위를 개척했다는 점에서 더욱 그 가치를 부여할 수 있겠다. 이에 본고는 그 동안 국내에서는 아직 연구되지 않은 바술카 부부의 지난 예술의 여정을 되돌아보고, 그들의 비디오아트가 지닌 시대적 맥락과 미적 전략에 대한 학문적 관심을 제안한다.