• 패션비즈니스
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• 제15권2호
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• pp.23-38
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• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.

• 한국실내디자인학회논문집
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• 제33호
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• pp.19-26
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• 2002

This study analyzed the characteristics of spatial expression in the Barcelona Pavilion to be based on tectonics. Mies pointed out the image of materiality about the material rather than the process of tectonics using the material, and he also expressed demateriality in the image of each material through the reflection. To be liberated from structural matters, the wall has been introduced. He intended to show the design plan as the independent structural system, however, the wall actually seems to be supporting the roof that shows rather clearly self-contradictory because of the expression of materiality in the material. In terms of architectural elements; wall, roof, column, floor, and so forth, tectonic expression and abstract aesthetics stands face to face, because of hiding the productional process and transforming to line and surface in the image of materiality. The interior of the glass wall seems fairly closed space from the exterior, because materiality and reflection of materials of columns and podium. The character of experiential space is inconsistent and fragmentary because of the splendid images from maternality and reflection on the wall, and collision with the reality and the image the wall reflects, even though the geometrical space of the Pavilion's plan has the mutual penetrability and organic character.

• 복식
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• 제42권
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• pp.69-90
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• 1999

Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.

• 한국측량학회지
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• 제25권1호
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• pp.69-75
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• 2007

The information in physical planning field shows the socio-economic potentials of land resources while cadastral data does the physical and legal realities of the land. The two domains commonly deal with land information but have different views. Cadastre has to evolved to the multi-purpose ones which provide value-added information and support a wide spectrum of decision makers by mixing their own information with other spatial/non-spatial databases. In this context, the demands of data exchange between the two domains is growing up but this cannot be done without resolving the heterogeneity between the two information applications. Both of either discipline sees the reality within its own scope, which means each has a unique way to abstract real world phenomena to the database. The heterogeneity problem emerges when an GIS is autonomously and independently established. It causes considerable communication difficulties since heterogeneity of representations forms unique data semantics for each database. The semantic heterogeneity obviously creates an obstacle to data exchange but, at the same time, it can be a key to solve the problems too. Therefore, the study focuses on facilitating data sharing between the fields of cadastre and physical planning by resolving the semantic heterogeneity. The core job is developing a conversion mechanism of cadastral data into the information for the physical planning by DB coupling techniques.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.58-66
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• 2012

In the modern era, perceived as the century of culture, the pure meaning of information in various medium is becoming extinct and the distinction between media and reality being faded away. Such phenomenon is called "simulracre". Gilles Deleuze defines "simulracre" as an event that passes by momentarily. To the modern people, the museum should be sublimated into a space that reflects not only the various surroundings but also education and should be a space that can provide diverse experiences. For museum exhibit communication, storytelling is a method that can meet the need of audience and take one step forward in educational and emotion aspect. Considering such relationship, "event" can be an evidence to build a space by establishing relations with subject and determine the meaning of space. First, characteristics of event and requisite and the theoretical view of storytelling will be examined, followed by the analysis of event storytelling by selecting Holocaust Museum which attempted a new approach that has dealt with what is important to the Jews: 'holocaust'. The purpose of this study is to identify how "event", not remaining as an abstract term, is being present in Holocaust Museum with a new spatial perspective, and to provide the public with a different set of thinking and experience.

• 한국수학사학회지
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• 제22권4호
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• pp.97-114
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• 2009

화이트헤드는 수학적 개념과 방법을 철학에까지 확장시킨 대표적인 수학 철학자라 할 수 있다. 화이트헤드의 수학 철학은 한편으로 형이상학적 입장을 주장한다는 점에서 수학철학의 합리론적 경향을 가진 것으로 볼 수 있으며, 또 다른 한편 수학적 진리와 현실세계의 경험적 관련성을 강조한다는 점에서 수학철학의 경험론적 경향에 속한다고 볼 수 있다. 본 논문에서는 수학철학에 있어 독특한 견해를 가진 화이트헤드의 수학 철학적 입장이 무엇인지 살펴보았다. 화이트헤드의 유기체 철학의 수학 철학적 경향은 수학 철학에서의 경험론적 경향과 합리론적 경향의 종합이라고 볼 수 있다.

• 미술이론과 현장
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• 제6호
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• pp.7-25
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• 2008

The following thesis has been composed with the inspiration attained from Paul Ardenne's conception on Contextual Art. In Europe and in the United States, there is a group of artists who emphasize in the importance of artist's participation in social, political, economical, environmental and moral issues. Since the 1960's, these artists have pondered on Modernism's ideas where art is contextually separated from humanly issues whereas the manners of such artists put on emphasis in the intent to participate in the real human social and ethical issues. Forerunner in this field of art such as Wolfgang Leib display hybrid or meta style in their work. His work displays a quadrilateral form of pollen which represents the simultaneous blending of two mixed ideas such as the abstract from the real. Thus heterogeneous style and philosophy which includes a range of medias and today's trend is observed in Contextual Art. Such art form is also found in landscapes where it is not seen as an observable object but rather an interactive object. It is correlated to Arte Povera of the Italian Art Movement, Support-Surface of the French Art Movement and lastly to the Fluxus. Through these art movements, we find a mutual antipathy towards putting art for sales in the capitalism market and reflect the social role of art in postmodern era.

• 산경연구논집
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• 제13권9호
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• pp.37-50
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• 2022

Purpose: The purpose of this study is to explore and compare research trends in Korea and overseas academic papers on social media marketing, and to present new academic perspectives for the future direction in Korea. Research design, data and methodology: We used English abstract of research paper (Korea's: 1,349, overseas': 5,036) for word frequency analysis, topic modeling, and trend analysis for each topic. Results: The results of word frequency and co-occurrence frequency analysis showed that Korea researches focused on the experiential values of users, and overseas researches focused on platforms and content. Next, 13 topics and 12 topics for Korea and overseas researches were derived from topic modeling. And, trend analysis showed that Korean studies were different from overseas in applying marketing methods to specific industries and they were interested in the short-term performance of social media marketing. Conclusions: We found that the long-term strategies of social media marketing and academic interest in the overall industry will necessary in the future researches. Also, data mining techniques will necessary to generate more general results by quantifying various phenomena in reality. Finally, we expected that continuous and various academic approaches for volatile social media is effective to derive practical implications.

• 건축역사연구
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• 제15권4호
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 철학연구
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• 제141권
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• pp.43-62
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• 2017

이 글의 주된 목적은 설의 사회적 실재 구성 원리에 대한 스미스의 문제 제기와 관련된 공방을 검토함으로써 그 논란의 핵심적 소재를 밝히고 그 대안적 해결책을 모색하려는 것이다. 설은 자연적 실재와 대비되는 것으로서 사회적 실재가 인간의 '합의'를 통해 구성된다는 점에 주목하고 그 원리를 "X는 C라는 맥락 안에서 Y로 간주된다"로 공식화한다. 여기에서 사회적 실재 Y는 위상기능을 갖게 되며, 그것은 다시 우리에게 특정한 행위의 의무를 부과하는 의무력을 갖는다. 스미스는 종종 Y항에 대응하는 X항이 불분명한 경우가 있다는 사실을 들고 그것을 '비대응 Y항'이라고 부른다. 즉 우리가 받아들이고 있는 Y항에 대응하는 X항이 존재하지 않는 경우가 있다는 것이다. 스미스는 이 문제가 설의 사회적 실재 논의 자체를 무화하거나 반박하는 것은 아니라고 보지만, 설의 사회적 실재 구성 공식화의 결정적인 난점이라고 지적한다. 설은 스미스의 문제 제기를 받아들여 비대응 Y항의 존재를 인정하고 그것에 대한 부가적 설명을 시도하지만 그것은 성공적으로 보이지 않는다. 필자는 체험주의적 기호 개념을 통해 스미스가 제기한 비대응 Y항 문제가 근원적으로 해소될 수 있을 것이라고 제안한다. 체험주의적 기호 해석에 따르면 Y항은 X항에 대응하는 관계를 통해 구성되는 것이 아니라 X라는 기표에 우리 경험내용의 일부를 기호적으로 '사상'(mapping)라는 방식으로 구성된다. 이런 사상을 통해 X항은 새롭게 사상된 경험의 '관점에서' 이해되고 경험되는 것이다. 이러한 구도에서 본다면 설은 스미스를 따라 비대응 Y항의 존재를 인정해야 할 이유가 없어 보인다. 적어도 사회적 실재의 경우 X항이 없는 Y항은 존재할 수 없기 때문이다. 필자는 설이 기호적 사상 개념을 도입함으로써 자신의 공식을 여전히 유지할 수 있으며, 사회적 실재의 구성에 관해 훨씬 더 구체화되고 적극적인 해명으로 나아갈 수 있다고 본다.