• Title/Summary/Keyword: critical art

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BIM and Fire Safety Engineering - Overview of State of The Art

  • Davidson, Anne;Gales, John
    • International Journal of High-Rise Buildings
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    • v.10 no.4
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    • pp.251-263
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    • 2021
  • Fire safety engineering is a critical specialization to include in the design of a tall building yet is often excluded from the Building Information Model (BIM) and integrated design process. The design of fire safety systems is interdependent with building/structural geometry, HVAC, mechanical, and electrical systems. A BIM is a 3D visual representation that stores data on these kinds of systems. The compatibility between BIM and fire safety design seems obvious yet has received a dearth of attention in structural (fire) engineering literature. The authors herein have reviewed over 40 recent papers on utilizing BIM for fire safety engineering, focusing on contemporary literature to obtain a more up-to-date review of the state-of-the-art. The resulting trends, technologies, research gaps, and methodologies are presented in this paper. Adoption of BIM in fire safety engineering is slow and behind other disciplines which may be improved if research involved more industry partners. For BIM technology to reach its potential, industry manufacturers need to provide high LOD fire BIM objects, fire engineers and researchers need to collaborate on future advancements, and building owners/management need to be educated on how to use the benefits provided.

A case study for application of design for affordance methodology using affordance feature repositories (행위유발 특징형상 리파지토리를 활용한 행위유발성 증진 디자인방법 적용 사례 연구)

  • Ro, Eun Rae;Noh, Ji Hye;Kim, Yong Se
    • Korea Science and Art Forum
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    • v.19
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    • pp.319-330
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    • 2015
  • The characteristics of products and services that induce natural activities of people, namely affordances, play critical roles in making interactions successful and meaningful. Earlier a methodological framework for design for affordances has been devised where repositories of affordance features are used. Affordance features are retrieved from the repository so that the new affordance feature is to be designed through an analogical reasoning. In two classes of Product-Service Systems Design education, this design for affordance method has been introduced in a tutorial setting for designing a hand carrier cart. This paper describes how the method was introduced and shows new affordance features in their design proposals with source affordance features retrieved from the repository. Implications obtained from this tutorial effort are discussed to enrich practical application of the design for affordance method. The study tries to suggest new product design method by using affordance feature repository.

The Development of the Inspection Model about Cognitive Ability according to Visual Artistic Giftedness Identification of the Elementary School Children (초등학교 아동의 미술영재성 판별에 따른 인지능력검사모형 구안)

  • Park, Myeong-Ok
    • Journal of Gifted/Talented Education
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    • v.20 no.1
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    • pp.1-30
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    • 2010
  • The purpose of this study was to develop the inspection model of cognitive ability to identify visual artistic giftedness of the elementary school children with considering the relation between visual artistic giftedness and cognitive ability based on literature and preceding research. The research method applied literature research and quantitative research. Through literature review on the relation between art education and cognitive thinking and visual artistic of giftedness, it was suggested to prescribe the validity of cognitive ability as an element for identification of visual artistic giftedness identification, and then prescribed the elements of cognitive ability, and developed the inspection model of cognitive ability by measuring specific variables. Based on the results of literature research through the quantitative research, verified significance of developed inspection instrument on cognitive ability, validity and reliability of the inspection model of cognitive ability according to visual artistic giftedness identification of the elementary school children. As a result of reviewing related literature and preceding research, it could be referred that visual thinking ability, spatial perception power and critical thinking ability coincided with a characteristic of an art field can show excellent ability in various art activities and be valid criteria of visual artistic giftedness as cognitive ability of the visual artistic gifted with potential possibilities. In conclusion, as the elements of cognitive ability for the visual artistic giftedness identification of the elementary school children, visual thinking ability, spatial perception power and critical thinking ability were verified to be valid in terms of logical and experimental. Therefore, the result of the research will be able to provide a new approach in education program development of visual artistic giftedness of the elementary school children and a various developmental possibility in identification of visual artistic giftedness.

Network Technology-based Aesthetic Practices: Focused on the Digital Activism of Electronic Disturbance Theater (네트워크 테크놀로지 기반의 미적 실천: 전자교란극단의 디지털 행동주의를 중심으로)

  • Shan Lim
    • The Journal of the Convergence on Culture Technology
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    • v.9 no.2
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    • pp.215-220
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    • 2023
  • Network technology used as a physical interface to retrieve, store, and exchange data is leading the era of data capitalism in the 21st century. The capacity of network technology dominates almost all communication in everyday life, and makes social understanding and experiences in the physical world visible in cyberspace. The movements of human bodies and objects in cyberspace are placed in a social context. This paper paid attention to these phenomena and examined the cases of activism that raised real problems through cyberspace. In particular, the focus of the study is the digital activism of the Electronic Disturbance Theater, which combines critical art and thinking for democracy with the realm of information and demonstrates aesthetic imagination. The first chapter of the main body briefly outlines the meaning activism as a social movement in cyberspace. The second chapter looks back on the alternatives of <FloodNet>, which represents the early activism performance of EDT. And then in the last chapter, the poetic significance of the <Transborder Immigrant Tool> is analyzed. Through this process, this paper demonstrates that the activism performance of the EDT is a critical aesthetics that encourages imagination for alternatives. It also argues that Electronic Disturbance Theater has contemporary value as an avant-garde art that actively utilizes the medium of network technology and integrates performance art and politics.

Surrealism in Labyrinth: Marcel Duchamp's Mile of String for "First Papers of Surrealism" (1942) (미로 속의 초현실주의: 1942년 ${\ll}$초현실주의의 1차서류${\gg}$ 전시와 마르셀 뒤샹의 <1마일의 끈>에 관한 연구)

  • Jung, Eun Young
    • The Journal of Art Theory & Practice
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    • no.15
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    • pp.167-198
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    • 2013
  • This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

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The Splitting of MKhAT and Collapse of Soviet Theatre (므하트의 분리와 소비에트 연극의 해체)

  • Kim, Hye Ran
    • Cross-Cultural Studies
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    • v.21
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    • pp.53-86
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    • 2010
  • This paper is focused on splitting of the first Soviet theatre, MKhAT and collapse of Soviet theatre. A close attention has been paid to Art Theatres's circumstances leading to splitting, critical conscience about division between ideal and real theatres and other concrete situation before the verge of collapse. Administrative reform of the Soviet theatre at the period of Perestroika and Glasnost', its results and conflicts, occurred in the process of transition into market system. These are considered under the premise of that the problems of MKhAT were not so different to the other soviet theatres at that time. As it is known that Moscow Art Theatre is a symbol of Russian theatre. And the status of MKhAT as a symbol of Russian theatre had formulated not only the well-known Stanislavsky' system and his legendary performance The Seagull, Three Sisters etc. It was made by party's effort to make MKhAT as the first Soviet theatre and by directors, artists and critics, they had believed and tried to protect idea of MKhAT as the 'battlements' of Soviet theatrical art. One of them is O. Yefremov, a former leader and artistic director from 1970 to 2000. Actually from the periods of Sovremennik Yefremov knew that does not exist the ideal MKhAT, excepting myths, legends and administrative attitudes. Nonetheless he chose the duty of MKhAT's artistic director to construct ideal MKhAT, theatre as the best moral institution, theatre as union based on common belief. It is same motive that he had led split of MKhAT. But split of theatre did not bring the expected results. After spliting MKhAT has become almost collapsed under collapse of USSR and subsequent turmoil at 1990's. And as soviet theatre disappeared into history, Russian theatre became lost its special significance, the super-theatre's idea.

A Study on Parody Expressed in Modern Fashion (현대 패션에 나타난 패러디(Parody)에 관한 연구)

  • 고현진;김민자
    • Journal of the Korean Society of Costume
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    • v.25
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    • pp.249-268
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    • 1995
  • Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

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The Universal Gestures in Nongŭm: The Dynamic Techniques of Taegŭm Performance (소통을 위한 몸짓 - 농음의 문화상호적 해석 -)

  • Kim, Hyelim
    • (The) Research of the performance art and culture
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    • no.33
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    • pp.223-242
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    • 2016
  • The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

Parody Expressed in Thom Browne's Collection (톰 브라운의 컬렉션에 나타난 패러디)

  • Jang, Jung Im;Lee, Youn Hee
    • Journal of the Korean Society of Costume
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    • v.63 no.3
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    • pp.61-77
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    • 2013
  • The purpose of this study is to analyze the concept and characteristics of parody, and consider how parody was reflected in Thom Browne's collection centering on the expressive method. Thus, this study will attempt to shed new light on the creative possibility and artistic value of parody in men's fashion design. The methods are as follows. The ideas, characteristics and expressive methods that represent parody was considered by referencing various related books, papers, art critiques, etc. Based on this theoretical study, a case of Thom Browne's collection (Thom Browne menswear: 2004 S/S-2012 F/W) was observed to find types of parody, attributes and significance. Photo material was collected through websites such as www.thombrowne.com, www.style.com, etc. The type and characteristics of parody expressed in Thom Browne's collection was considered in the following aspects: imitative parody, critical parody and pastiche parody. Through such consideration, it was possible to realize the fashion designs that adapt Thom Browne's parody are very deliberate and calculative. The designs convey exaggeration, destruction of form, emphasis on discontinuity, transition into attraction, aesthetics of unfamiliarity, characteristic aspects of irrationality and contradiction. Through the study, it was possible to see Thom Browne's collection with parody adaptation shaping new creativity and broadening formative aspects in fashion design.

Binder Removal by Supercritical $CO_2$ in Powder Injection Molded WC-Co (WC-Co계 분말사출성형에서 초임계$CO_2$에 의한 결합제 제거)

  • 김용호;임종성;이윤우;김소나;박종구
    • Journal of Powder Materials
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    • v.8 no.2
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    • pp.91-97
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    • 2001
  • The conventional debinding process in metal injection molding is very long time-consuming and unfriendly environmental method. Especially, in such a case of injection molded parts from hard and fine metal powder, such as WC-Co, an extremely long period of time is necessary in the conventional slow binder removal process. On the other hand, supercritical debinding is thought to be the effective method which is appropriate to eliminate the aforementioned inconvenience in the prior art. The supercritical fluid has high diffusivity and density, it can penetrate quickly into the inside of the green metal bodies, and extract the binder. In this paper, super-critical debinding is compared with wicking debinding process. Wax-based binder system is used in this study. The binder removal rate in supercritical $CO_2$ have been measured at $65^{\circ}C$, 75$^{\circ}C$ in the pressure range from 20 MPa to 28 MPa. Pores and cracks in silver bodies after sintering were observed using SEM When the super-critical $CO_2$ debinding was carried out at 75$^{\circ}C$, almost all the wax (about 70 wt% of binder) was removed in 2 hours under 28 MPa and 2.5 hours under 25 MPa.

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