• Journal of The Korean Digital Architecture Interior Association
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• v.12 no.3
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• pp.5-13
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• 2012

In this study, features and design effects of PV(Photovoltaic) modules were classified to help the installation of BIPV(Building Integrated Photovoltaic) In addition, through domestic and international trends and cases survey, installation method was organized and applicable range of efficiency and design from First-generation solar cells to the third-generation solar cell was classified. Frist, Crystalline Solar cell module of first-generation is appropriate for the wall type, roof, louver, shading and etc. It has superiority of technology and price stability and can be achieved by a variety of aesthetic effects. Second, Dye-Sensitized Solar Cell of Thin Film solar cell can express a variety of colors, adjust light transmittance and maximize the aesthetic splendor. It is appropriate for the wall type, window type, curtain wall type and etc. Also, see-through type solar cell can provide comforts cause of free flow of light. And it is advantageous from economic due to adjust the indoor temperature. It is appropriate for the atrium type, curtain wall type, window type and etc.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.157-169
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• 2020

Entering the 21st century, the production environment and system of film art were very rapidly implemented from analog to digital. In such a process, the development and change of imaging technology have had a profound effect on the expressive modalities of visual aesthetics. However, in-depth discussions on how the existing analog aesthetic has been implemented into the digital environment are somewhat insufficient. In this study, Iwai Shunji's latest film , which continues to carry out remarkable creative activities across the analog and digital ages, specifically examines what 'Iwai aesthetics' he has pursued since the analog era is revealing in the digital age. Methodically, Iwai Shunji's transition from analog to digital age was examined and his digital film was approached and analyzed from three aesthetic perspectives : 'Light', 'Composition', and 'Space and Point of View'.

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.31-47
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• 2003

The purpose of this study was to investigate the Digital Paradigm cords depicted on the Digital Clothing by borrowing nearby fields. Therefore, it will offer not only theoretical data but also databases for product development on functional and aesthetic views even though it is not systematically set up the idea vet. The Digital Paradigm cords of Interactivity. Nonlinearity and Combination in the Digital Clothing were determined. This study found that Interactivity Paradigm cord was expressed by the interaction of clothing and computer, the techniques of built in·attach·detach·fragment of the Digital Clothing at the external indicators, and maintained this personalizing that was pursued comprehension and the shape and silhouette of the existed clothing, that Nonlinearity Paradigm cord was able to overcome the limitation of a successively approach, in other words the discontinuous moving possibilities of time and space, that Combination Paradigm cord was contained creative concept without fixed ideas through coordination of Digital Clothing that was combination. continuous creation, changes and process between heterogeneous factors. In conclusion, introduction of the new Digital Paradigm is going to accelerate on lasting development and research.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Trans-
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• v.4
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• pp.1-36
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• 2018

This paper summarizes some of the contents of the 7th International Symposium "Classical Art and Digital" of the Transmedia Institute(TMI), held on October 31, 2017. The purpose of this year's International Symposium was to look back on the genre and the aesthetic history of classical art and to create a place for discourse about the recognition of classical art in the modern digital era. In the first part of the discussion about the duplication of the original and virtual imitation, three presentations on "Visual Image Art and Digital" were introduced. The conclusion of this first discussion is summarized by urging the movement of viewpoint as 'systematic change of the routine aesthetic process'. In the second part on "Performing Arts and Digital", we realize that we need to definitize the 'new directive term system' necessary for the era of digital convergence and performance. In this process we can refer to the need for the emergence of a new aesthetic basis. Two papers in the second part of the paper will introduce the study of 'dance' performance. Some of these studies are reintroduced at the conclusion. The theme of this year's International Symposium can be expected to provide a foothold for the forthcoming second 'Laocoon sculpture argue'. In short, behind the various controversies in the history of aesthetics, this year's conference is concluded with a call for the need to flexibly read the enormous flow of 'art' and 'mental heritage left by art'. It is said that this year's international conferences are presenting the basis of practical and systematic theories for the upcoming fusion media era.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.221-236
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• 2016

The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe $L{\oe}il$ expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, it targeted the women's wear collections of Paris, Milan, London, and New York, limiting its range from S/S 2010 to F/W 2015. The results are as follows: First, based on the preceding research, the types of Trompe $L{\oe}il$ expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body. Second, the aesthetic characteristics of Trompe $L{\oe}il$ based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe $L{\oe}il$ such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.

• Journal of Digital Convergence
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• v.16 no.1
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• pp.337-342
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• 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 the Korean Society of Costume
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• v.54 no.5
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• pp.83-93
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• 2004

The purpose of this study is to examine the relationship between thought systems of post-structuralism by Deleuze and digital culture which is the core topic of social and cultural discussion. And this study also aims to grasp the diversity and movable thinking shown in fashion illustration from the aesthetic thought systems of post-structuralism theory by Deleuze. Furthermore, this study intends to ascertain the concrete representation characteristics and its significance of fashion illustration by analyzing works on the basis of the above-mentioned theory. What are discussed in this paper can be summarized as follows First, this study examined the post-structuralism which supplies the theoretic basis for figuring out the principles of diversity and movable thinking. Second, this study examined the relationship between the open structure and movable individuality of Deleuze who is a representative scholar of post- structuralism. Third, this study analyzed the representative characteristics and aesthetic value to which the principles of post-structuralism, derived from the aesthetic theory of Deleuze, was applied.

• The Research Journal of the Costume Culture
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• v.23 no.2
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• pp.254-269
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• 2015

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of 'science of emotion and sensibility' was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.