• KIPS Transactions on Software and Data Engineering
• /
• v.6 no.12
• /
• pp.587-592
• /
• 2017

In this paper, we raise a question: what makes presence in artistic works. Presence has been defined as a physiological and emotional feeling which feels that he or she is immerged in a specific artworks when he/she is very interested in the artwork. We design and implemented an abstract media art "The Light" which uses the color, trace, and interactivity of light to measure quantitative presence. Frequency spectrum of light on specific object which we perceive makes color; Motion of light and its impact on object makes shape which perceived in our human visual system; Interactivity or perceived distance between object and observer makes intensity of perception. We experimented our images with subjective survey which includes PQS (presence questionnaire survey) and objective test using brain signals (EEG). From our interactive experimental moving images tested on 30 subject, we conclude that we can make more presence as we interact more with images. Photo-realistic images is just pass-by and it is transformed to abstract images, as we more focused on the images, and the essential components of the abstraction includes color, trace, and interaction with subjects.

• Journal of the Korean Wood Science and Technology
• /
• v.42 no.2
• /
• pp.163-171
• /
• 2014

Environmental issues about indoor air quality have been increased and focused on volatile organic compounds (VOCs) caused cancer, asthma, and skin disease. Reducing VOCs has been attempted in many different methods such as using environmentally friendly materials and air cleaner or purifier. Charcoal is well known material for absorbing VOCs. Therefore, carbonized board from medium density fiberboard has been developed. We assumed that the source of carbonized boards can be any type of wood-based panels. In this study, carbonized boards were manufactured from oriented strand board (OSB) at 400, 600, 800, and $1000^{\circ}C$. Each carbonized OSB (c-OSB) was evaluated and determined physiomechanical characteristics such as exterior defects, dimensional shrinkage, modulus of elasticity, and bending strength. No external defects were observed on c-OSBs at all carbonizing conditions. As carbonizing temperature increased, less porosity between carbonized wood fibers was observed by SEM analysis. The higher rate of dimensional shrinkage was observed on c-OSB at $1000^{\circ}C$ (66%) than c-OSB at 400, 600, and $800^{\circ}C$ (47%, 58%, and 63%, respectively). The densities of c-OSBs were lower than original OSB, but there was no significant different among the c-OSBs. The bending strength of c-OSB increased 1.58 MPa (c-OSB at $400^{\circ}C$) to 8.03 MPa (c-OSB at $1000^{\circ}C$) as carbonization temperature increased. Carbonization temperature above $800^{\circ}C$ yielded higher bonding strength than that of gypsum board (4.6 MPa). In conclusion, c-OSB may be used in sealing and wall for decorating purpose without additional artwork compare to c-MDF which has smooth surface.

• Journal of Fashion Business
• /
• v.12 no.2
• /
• pp.100-116
• /
• 2008

This study aims to analyze the characteristics of deconstruction-ism expressed in the fashion of Alexander McQueen. The method and contents of this study are as follows. The three large categories for analysis are indeterminacy, decentralization, and intertextuality. The indeterminacy of meaning is divided into unstructured and unorganized factors in fashion, while decentralization can be categorized into cross-gender, subculture, and post-humanism. Lastly, inter-textuality is classified into factors of mixing mode and mixed styles. Materials for analysis were chosen from a total of 616 designs from the website, www.firstview.com, which carries McQueen's collection from 2000 S/S through 2007 F/W. My analysis qualitatively evaluates the frequency of each category and the characteristics of design. The result of this study is as followed. First, the avant-garde facets of inter-textuality are most prominent. In particular, McQueen has introduced retro fashion and ethnic factors of the third world, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has enjoyed using two fabrics of different texture in order to inflict a shock and contrast, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of McQueen's fashion design. McQueen has employed unstructured expression techniques, which dismantle harmony and balance, the basic rule of design, and has presented unorganized images free from basic forms of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. Third, the aspects of decentralization were also shown in McQueen's design. His trans-gender clothing dissolves the traditional division of men and women and adopts a mixed gender expression. Furthermore, he has even tried to express a fourth gender by connecting the human with machine or animal or by connecting the material with the non-material.

• Journal of Conservation Science
• /
• v.10 no.1 s.13
• /
• pp.10-20
• /
• 2001

Since the feasibility for the application of laser to the conservation of artworks had been demonstrated by John F. Asmus at 1972 it was known from many experiments that laser cleaning technology Provided superior characteristics over conventional cleaning methods based on mechanical and chemical actions. Then, the research and development of the cleaning technology was carried out strongly in Europe and many successful cleaning applications such as stone, painting, stained glass, paper, leather, and metal have been reported. However this is not familiar as a cleaning tool in the restoration of artworks in oriental countries including Korea. Therefore, this article aims to introduce a laser cleaning technology and its characteristics for the applications to art restoration. The contents in this article include general principles and characteristics of laser, the introduction of laser cleaning technology, and real laser applications for artwork restoration.

• Journal of Digital Convergence
• /
• v.16 no.1
• /
• pp.337-342
• /
• 2018

This study was started to study the artistic aesthetic value of the antique artwork which is gradually declining in the field of metal crafts. The aesthetic interpretation of the lines and faces that have been identified through previous researches has been defined as a vitality and repetitive beauty. The researchers here have tried to express the formative works which can be repeated and change. As a result, it was found that the object of inquiry which can express the aesthetic beauty felt in the simple change of the line and the face is possible without the advanced technique of the difficult technique or the molding method through the natural and gradual change of the line and the face rather than the regular repetition. Through this study, it was found that the use of future lines and surfaces could be utilized as a variety of aesthetic expression methods as molding elements.

• Journal of Science of Art and Design
• /
• v.13 no.1
• /
• pp.39-60
• /
• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.