• 한국실내디자인학회논문집
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• 제19권2호
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• pp.66-72
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• 2010

The purpose of this study is to pronounce design trends in contemporary architecture collaborated with new media art concept. Currently, the prevalence of media presence has evolved perspectives on contemporary aesthetics today. To make clear demonstration on the issue, this study categorized new media art's expressional characteristics applied in the contemporary architectural design in conjunction with analytical researches on typologies and expressional characteristics appear in new media art. More specifically, the study selected architects who adopted new media art's expressional characteristics into their works from the year 2000 and performed analytical case studies with regard to the effect of the new media art into their architectural practices. By following methodologies mentioned above, conclusively the study categorized distinct expressional characteristics appears in contemporary architecture as a result of merging with new media art. The characteristics of the new media art appeared in contemporary architecture are categorized into three groups such as the design controlling external environment, the design utilizing web environment and the design participated by users. These observation could be translated that architects could present interactive design between users and building as a result from architect's capability of designing protocols which generate variable forms, colors and patterns in architecture. In particular, architecture utilizing web environment has characteristic capability of configurating user's program in virtual space. Also it is anticipated to suggest new patterns in generating architectural programs and forms. These patterns would not recognize the city merely as an incident or fragmented image but would configurate forms and images constructed by individual notional character. In conclusion, the architecture itself is expected to perform as media to open up opportunities that enables to contribute in expediting interactions among environment, users, and buildings by deviating from perspectives of representation as an object expressed in modernism architecture or as a classical decoration in post-modernism architecture in the past era.

• 미술이론과 현장
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• 제16호
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• pp.257-272
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• 2013

This paper analyzes six different ways of articulating the relationship between art and politics. It calls attention to the differences that lurk behind the seemingly simple phrase-everywhere in vogue today-the "politics of aesthetics." Five of these models are drawn from contemporary discussions regarding the politics of art. The last model is the attempt to develop an account of the politics of aesthetics that is faithful to the difficult and ambiguous dimensions of the aesthetic experience that were hinted at by the texts of classical philosophical aesthetics. Most notably, this paper is concerned with the idea that the aesthetic experience can be understood as a form of disinterested contemplation-one that is not reducible to cognitive or moral considerations-and with some of the consequences that this entails. It explores some of the political significance that can be attributed to this idea of disinterested contemplation, arguing that the aesthetic should be understood as a withdrawal from the world's pre-established meanings. Unlike some of the other thinkers discussed in this paper, this author doubts that a single, uniform meaning can be ascribed to the aesthetic experience. I thus argue that we need to approach the aesthetic through the networks of textual significance that have been built up around it. Throughout this paper, I attempt to explain how the efforts to link art and aesthetics to politics simultaneously give rise to ideas about the nature of the human community. In looking at the sixth and final model, what I have called the "anarchical politics of aesthetic ambiguity," I argue that the aesthetic tradition offers a rather unique way of understanding the relationship between the individual and the community. Here, we see that the aesthetic is prone to a number of paradoxes, central among them the one that makes art the bearer of a solipsistic pleasure in which we nevertheless discover our capacity for genuinely communicating with others, outside of cliches and banalities.

• 미술이론과 현장
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• 제6호
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• 한국전산유체공학회:학술대회논문집
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• 한국전산유체공학회 2009년 춘계학술대회논문집
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• pp.9-18
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• 2009

This paper presents the state of the art of computational structures technology(CST) and comparison of two computational mechanics - CST and CFD, to the CFD engineers. Classical mechanics is based on the five classical axioms which describe the motion and behaviors of the continuum materials like solid structures and fluids. Computational structures technology uses the finite element method to solve the governing equation, whereas finite volume method is generally used in CFD. A few famous commercial structural analysis programs and DIAMOND/IPSAP will be introduced. DIAMOND/IPSAP is the efficient parallel structural analysis package developed by our research team. DIAMOND/IPSAP shows the better performance than the commercial structural analysis software not only in the parallel computing environments but also in a single computer.

• 동아시아식생활학회지
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• 제2권1호
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• pp.17-33
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• 1992

Information about processing method of Kwahaju can get from the 41 kinds classical literature traditional yakju. The contents of those classical literature consist of sixty items about Kwahaju, number of art-less-brewed alcoholics and compounded alcoholics. Interpreted content was classified and analyzed. Selected 40 items, about Kwahaju among previous 60 items, compounded brewages, were distributed into two groups of alcoholics ; Seoul Kwahaju and Kimchun Kwahaju. Both group of alcoholics, grunded on the periodical conversion of processing method through four centuries were set one thing to another and analyzed. The materials used for Kwahaju, compounded alcoholics, were waxy rice mainley, regular rice, yeast(Nuruk), wheat, barley seedings and Soju, Kwahaju, usually, is brewed for worm or hot season and store up the alcoholics for summer. It should be reminded to be durable alcoholics, not soon pureficated out or needing repair.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제16권11호
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• pp.3658-3679
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• 2022

Classification of persons wearing and not wearing face masks in images has emerged as a new computer vision problem during the COVID-19 pandemic. In order to address this problem and scale up the research in this domain, in this paper a hybrid technique by employing ResNet-101 and multi-layer perceptron (MLP) classifier has been proposed. The proposed technique is tested and validated on a self-created face masks classification dataset and a standard dataset. On self-created dataset, the proposed technique achieved a classification accuracy of 97.3%. To embrace the proposed technique, six other state-of-the-art CNN feature extractors with six other classical machine learning classifiers have been tested and compared with the proposed technique. The proposed technique achieved better classification accuracy and 1-6% higher precision, recall, and F1 score as compared to other tested deep feature extractors and machine learning classifiers.

• 가족자원경영과 정책
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• 제10권1호
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• pp.83-105
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• 2006

The purposes of this study were to classify types of consumption values and to examine 5 types of art appreciation of university students in Seoul. Five types of art appreciation included fine art exhibition(including photographs, architects, calligraphy works), classical and opera performance, traditional Korean music performance, drama and musical performance, dance performance. The sample for this study consisted of 422 university students of five universities in Seoul. The data were collected using the structured questionnaires. The statistical methods used for the analysis were descriptive statistics, chi-square, factor analysis, and cluster analysis. The major findings are as follows. 1. The result of factors for consumption values of students emerged four factors. These were called as 'materialism', 'honor centered', 'family centered', 'hedonism' value. 2. The cluster analysis was conducted based on these four factors. The result showed 3 groups of consumption value which were called as 'material' honor value group', 'family value group', 'hedonic value group'. 3. The consumption value of university students did not significantly differ according to their demographic variables. 4. The behavior of art appreciation of university students significantly differed by their demographic characteristics and consumption value. The material' honor valued group showed the least chances to make decisions on art appreciation for one's own, which reflected that this group appreciate art to satisfy their honors rather than to enjoy art itself. They also showed the most chances to consider the renownedness of the art work or artists among three groups. And they showed the least chances to pay for the tickets for art appreciation, all of those meant that they appreciate arts unvoluntarily in situational condition. The family valued group showed the most chances to pay for the tickets when they appreciate arts. And therefore they were most susceptible for the prices. The hedonic valued group showed the most interests in art. They decided to appreciate art for their own, and they considered the contents and the highness in the level of the art the most when they appreciate art. And they show the most intention of participation in drama/musical performances, which reflect their interests in hedonic values. Based on these results of this study concluded that the consumption values of university students affected their behavior of art appreciation. Thus, university students' behavior on art appreciation can be effectively developed by education according to their consumption values.

• 예술경영연구
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• 제55호
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• pp.39-73
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• 2020

최근 1인 가구의 급격한 증가는 전반적인 소비 트렌드뿐만 아니라 예술공연시장에도 큰 영향을 미치고 있다. 공연관람 형태 중 1인 관람객 비중이 절반에 육박하면서 '혼공족'이라는 신조어가 널리 사용되고 있는 실정이다. 이러한 '1인 소비', '나만을 위한 소비' 트렌드를 대표하는 것이 나 자신을 위해 특별한 소비를 하는 '자기선물' 개념이다. 본 연구는 나를 위한 소비에 투자를 아끼지 않는 새로운 공연 관람객 집단을 이해하기 위한 틀로서 자기선물 개념을 도입하였다. 그리고 자기선물 동기가 공연관람의 인지된 가치와 자기선물 의향에 어떤 영향을 주는지를 실증하였다. 또한 1인 관람객만의 특징을 보다 명확히 확인하기 위해서 1인 관람객 집단과 2인 이상 동반관람객 집단에서 자기선물 동기의 영향력에 유의한 차이가 있는지를 검증하였다. 실증분석은 특별한 소비로서 자기선물의 특성이 잘 반영될 수 있도록 상대적으로 관람비용이 고가인 클래식 음악공연을 대상으로 삼았다. 분석결과 자기선물 동기 중 보상 동기, 실망치유 동기 및 부정적 무드 감소 동기가 공연관람의 인지된 가치를 통해 자기선물 의향에 유의한 영향을 미침을 확인하였다. 그리고 다중집단분석을 통해서 1인 관람객과 2인 이상 동반 관람객 사이에 자기선물 동기 요소의 영향력에 유의한 차이가 있다는 점도 밝혔다. 문화예술 공연계가 1인 관람객, 나를 위한 소비 트렌드에 대응하기 위해서 이러한 고객집단을 이해하는 이론적 기반을 최초로 제공했다는 점에 본 연구의 기여가 있다. 또한 공연관람을 자기선물로 프레이밍 함으로써 침체된 클래식음악 공연시장을 활성화할 수 있는 실무적 시사점도 제공하였다.

• 공연문화연구
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• 제36호
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• pp.223-253
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• 2018

고전소설이 과거의 유품이 아니라 현재적 고전으로서의 의미를 가지기 위해서는 설화와 마찬가지로 고전소설과 어린이문학의 만남에 주목할 필요가 있는데, <심청전>의 경우는 다른 고전소설들 달리 주목할 만한 창작동화가 다수 나오고 있어 관심을 가질 만하다. 이에 이 논문에서는 2000년대 이후 창작동화를 중심으로 고전소설 <심청전>이 어린이문학에서 어떻게 변용되고 있는가를 살펴보았다. <심청전>을 변용한 창작동화는 이형진의 그림책 "비단치마", 공진하의 저학년 장편 동화 "청아 청아 눈을 떠라", 이경혜의 저학년 단편동화 "심청이 무슨 효녀야?", 강숙인의 청소년 소설 "청아 청아 예쁜 청아", 진은진의 단편 동화 청아 청아, 배유안의 청소년 장편소설 "뺑덕", 정해왕의 청소년 장편 소설 "뺑덕의 눈물" 총 7종이었다. 이들을 검토해 본 결과 그림책, 동화, 청소년 소설 등 다양한 장르와 연령을 대상으로 하면서 다양한 시각으로 다채로운 주제를 드러냄으로써 고전의 기대지평을 확장하고 있음을 확인할 수 있었다. 여기에 <심청전>을 변용한 동화가 어린이와 청소년의 삶에 근접한 문학이라는 점도 고전이 가진 고리타분함과 독자와의 거리를 줄일 수 있는 중요한 요소라고 할 수 있다. <심청전>이 어린이들의 삶과 밀착하여 다채롭게 재해석되면서 고전은 현재의 것으로서의 새로운 의미를 부여받게 된다. 또한 "뺑덕의 눈물"의 경우, 서사를 <심청가>의 기원과 연결시키거나 판소리를 삽입하기도 하여 판소리계 소설로서의 <심청전>의 특성을 반영하면서 고전의 가치를 살리려는 노력을 보여주고 있었다. 아쉬운 점이 있다면 판소리계 소설의 가장 큰 특징 중의 하나인 골계미가 거의 발견되지 않는다는 점인데 <심청전>을 변용한 동화들이 앞으로 고민하고 지향해야 할 방향 중 하나라고 여겨진다.

• 패션비즈니스
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• 제14권4호
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.