• Proceedings of the IEEK Conference
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• 2003.07b
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• pp.823-826
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• 2003

FPGA-based logic emulator with lane gate capacity generally comprises a large number of FPGAs connected in mesh or crossbar topology. However, gate utilization of FPGAs and speed of emulation are limited by the number of signal pins among FPGAs and the interconnection architecture of the logic emulator. The time-multiplexing of interconnection wires is required for multi-FPGA system incorporating several state-of-the-art FPGAs. This paper proposes a circuit partitioning algorithm called SCATOMi(SCheduling driven Algorithm for TOMi)for multi-FPGA system incorporating four to eight FPGAs where FPGAs are interconnected through TOMi(Time-multiplexed, Off-chip, Multicasting interconnection). SCATOMi improves the performance of TOMi architecture by limiting the number of inter-FPGA signal transfers on the critical path and considering the scheduling of inter-FPGA signal transfers. The performance of the partitioning result of SCATOMi is 5.5 times faster than traditional partitioning algorithms. Architecture comparison show that the pin count is reduced to 15.2%-81.3% while the critical path delay is reduced to 46.1%-67.6% compared to traditional architectures.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.3
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• pp.437-455
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• 2016

This paper proposes a multi-disciplinary approach for fashion criticism in museology through an analysis of the 2014 Charles James's retrospective. It includes the following elicitations. First, it explores a critical discussion of "dress museology" as well as "fashion museology" and the complexity of fashion in museums. Second, this paper reorganizes Fleming's (1974) artifact study and Crane and Bovone's (2006) critical theory for fashion criticism in museology by comparing "object-based" research with an "academic" approach. Third, it applies fashion criticism methodology as a case study to the aforementioned museum fashion exhibit, entitled . We can subsequently begin to reconsider concepts of art and fashion within present culture based on inclusive fashion criticism of aesthetic and cultural events.

• Steel and Composite Structures
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• v.1 no.1
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• pp.75-96
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• 2001

Actual buckling curves are always characterised by the erosion of ideal buckling curves. In case of compact sections this erosion is due to the imperfections, while for thin-walled members, a supplementary erosion is induced by the phenomenon of coupled instabilities. The ECBL approach- Erosion of Critical Bifurcation Load - represents a practical and convenient tool to characterise the instability behaviour of thin-walled members. The present state-of-art paper describes the theoretical background of this method and the applications to cold-formed steel sections in compression and bending. Special attention is paid to the evaluation methods of erosion coefficient and to their validation. The ECBL approach can be also used to the plastic-elastic interactive buckling of thin-walled members, and the paper provides significant results on this line.

• Proceedings of the IEEK Conference
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• 2000.07a
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• pp.310-313
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• 2000

This paper presents a new scheduling method for ILP processing called NHS(Novel Hybrid Scheduling). It concerns not only exploiting as much ILP as possible like other state-of-the-art scheduling scheme, but also choosing the most important instructions among many ready-to-execute instructions to processors in order to reduce the execution time under limited hardware resource. At the heart of NHS is a conception called CCP(Complex Critical Path), an extension of CP(Critical Path). By using CCP, compiler not only can get a global information of the whole program to extract ILP, but also can collecting data dependence information and control flow information. The paper also presents the simulation results, to date, of our attempts to study the NHS scheduling method. The results indicate good potential for this scheduling method.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Lingua Humanitatis
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• v.1 no.2
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• pp.141-158
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• 2001

Criticism of today finds itself in an awkward situation, for it is now being transformed in the same way that literature and the arts were transformed by the avant-garde movements at the end of the 19th century and the beginning of the 20th century. It is characterized predominantly by a break with harmony and with the values of realism. As such, it is driven by a post-modem ethos, an artistic, social, and cultural phenomenon that veers toward open, fragmentary, and indeterminate forms. In this paper, I examine today's most urgent social and cultural issues with reference to artistic production and criticism, in order to illuminate the true nature of criticism. The outstanding questions in the world of art criticism are given in five categories: the lack of critical reality in argumentative criticism; the problem of artistic and literary production in global capitalism; the artistic mind and its consciousness of socio-historical ideology; anxiety of the rise of cyberjournalistic criticism; and the question of subordination to western systems in the field of interpretation and criticism. For my analysis, I have tried to formulate a three-dimensional critique structure that will help us organize the relationships between the points of argument: 1) criticism as a creative force behind the artist; 2) criticism as critique of artistic production; and 3) criticism as critique of other critics. This multi-layered structure will be appropriate to our task of interpretation and evaluation, as the proposed complex structure of criticism will be able to embrace the diverse aspects of our problematic argument. In the final analysis, my argument resolves itself into a question of art, more specifically into a question of criticism as a protective device of art in an age threatened by globalization and cultural monopolization.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.167-175
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• 2001

After World War II, Japan experienced a great political and social shift, which brought a concern of emerging public landscape in urban development. This paper analyses the management of the aesthetic intentions in urban design effort. We reviewed the development of various public installation of artworks concerning urban landscape aesthetics through its administrative process in chronological order. The monuments during the first decade marked a shift in emphasis from the militarism of the pre-war and wartime period to one of peace. However, some of the monuments and sculptures are not immune to controversy. This became an issue that could no be ignored by public officials whose responsibility was to place the sculptures while maintaining sensitivity to public opinion. As public administrators began to consider the possibility that sculptures may contribute to improving public amenities, the contextual concepts were basically ignored. Some of the programs in 1970s began to show more respect to the context, while other programs in this period expressed more interest in educational aspects of sculptures in the public spaces. Urban development projects also seek to introduce artworks integrated to their urban design concepts in 1990s. Generally, the administrators responsible for these programs were rarely trained in any relative field study other than public administration. Installing sculptures tended to be considered as part of public works projects on the level of urban planning and construction. The general public is basically removed from participating in the critical decisions that actually impact their lives in relation to the artworks. In conclusion, public art in japan has unique social and historic background both in its advantages and disadvantages. Issues pertaining to art in public spaces have evolved over the decades as the term "sculpture pollution" began to appear by the mid 1990s. most of the problems originated in either the lack of monumentality, contextual consideration, quality, or public participation. From another point of view, these programs played great roll in the development of modern Japanese sculpture and patronizing process, and the creation of new urban landscape with aesthetic value. In this sense, they must be considered as successful and noteworthy examples of cultural administration and urban design policy.

• The Journal of Art Theory & Practice
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• no.16
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• pp.175-199
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• 2013

Capriccio which has emersed in Italy of the 18th century is a new genre of the landscape painting. This genre represents reality, but it is very artificial product correspondingly its concept and character. It's birth place is distributed on various regions in Italy, but the main stage was Rome. Till the middle of the 18th century Rome was the Holy city of the Grand tour, the home of the Neo-Classicism and furthermore the field where archaeology and art history began to be instituted. On such historical situation the Capriccio came out and was recognized as the best popular genre in the visual art. It was favor of the art collection with the antiquity together and reflected the consciousness of the contemporary to the ancient. This study will examine the phenomena in the newly-developed archaeology and with few representative works of Giovanni Paolo Pannini as central term consider the Capriccio and the archaeological connotation. The systematical and institutional archeology which appeared at the age of the Enlightenment, on the contrary to the critical theories at the same time against capriccio, because it was regarded by them as paradoxical and too much sensitive, utilized it as a theoretical method very actively. Some among Historians and archaeologists did it, especially Francesco Bianchini distinguished the capriccio from simple imagination and made it a capacity of the knowledge. And through it he wanted to find out the historical truth. The visual art was influenced and encouraged by such attitude of the archaeology. However it's output spreaded out in various courses. While Giovanni Battista Piranesi, the best known Capriccist of the 18th century, tried to revive the antique through the epical value and his own imagination, Pannini gave priority to the strict historical research. In the such context Panni succeed Giovanni Battista Nolli who made the great map of the city Rome. Their Capriccio profited motive and was inspired by the historians and archaeologists such as Bianchini and Muratori. The Capriccio reflects not only the academic and popular interest for the antique, but also influenced on the upcoming scientific archaeology vice versa. It caused by their reasonable Interpretation and restoration of the antique through the visual medium. Finally as archaeological landscape Pannini's Capriccio is a historical case, in that the Capriccio applied the theoretical method of the archaeology to make art. It served as a momentum for the connotation to the archaeological thought.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.