• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.5 s.112
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• pp.15-30
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• 2005

A deserted town once vibrant with active commercial activities around a railroad station now tries to find a way to escape from depression and revive its life with a renewed civic pride. An open space adjacent to the Main Street, the commercial district of Buzzards Bay, Massachusetts, is waiting to be transformed and reconfigured to be a new ecological park to boost the economy of the community. Bridge Park is 26-acre land abutting the Cape Cod Canal with a railroad bridge as a backdrop. The existing condition of the site with a small salt marsh, woodland, lawn, and the vestige of old railroad easement along with the proximity to the commercial district poses an interesting question of how to make a medium scaled ecological park within an urban context. This paper examines the winning design proposals for the Bridge Park submitted to the International Design Competition held in April, 2005. Six winning proposals were introduced and discussed in terms of categories related to the trend of contemporary landscape design such as; 1) ecological ordinariness and geometric figures, 2) topography and spatial imagination, 3) minimal programs and open put 4) time and process oriented design, 5) park and economic effects and 6) diagrammatic plan and photo montage. Bridge Park Design Competition confirms the complex characteristics representing the contemporary landscape design overcoming the dichotomy between nature and culture and the 'pastoral ecological design' and 'landscape as an art'. The Park becomes the activating agent for the community rejecting the conventional and passive role as a romantic picturesque landscape. Bridge Park International Design Competition is a meaningful event to test the idea of new ecological urban park, and to fine-tune the trend of the contemporary urban park design.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.81-90
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• 2012

The contents of this study are as follows. First, an academic understanding has been achieved by exploring the theoretical concept "allegory", and a new theoretical approached methodology has been sought. Second, an analysis-index of fashion illustration cases has been suggested based on the allegory theory of Craig Owens. Third, in order to draw the characteristics of fashion illustration as viewed from the allegorical viewpoint and find out its feasibility, the case studies has been referred and the internal significance, external significance that combines different characteristics has been extracted. In regards to this study method, literature studies and case studies has been done in parallel with each other. This study was done in the following sequence: the establishment of the study system, the drawing of the allegory-associated concepts and the discovering the characteristics of aesthetic expressions. The results of this study on the expression characteristics of fashion illustration as viewed from the allegorical viewpoint of Craig Owens are as follows. First, the borrowing of image, which is a characteristic of allegory, contains the meaning of uncertainty in the fashion illustration as it expresses the image-synthesis and forms a completely different meaning as the fixed meaning is dissolved and it is utilized as a photo-montage technique. Second, the inference of pictogram is the mixture of linguistic medium and visual medium. Fashion illustration utilizes the characters and transmits the fashion information visually and immanently. It has the characteristic of making the information into pictograms and the internal significances of mutual-text with communication function. Third, the uniqueness of location in the fashion illustration has the special nature of utilized mediums as it is used for advertising or publicizing. The fashion illustration from the viewpoint of allegory has the impermanency of existing only for a limited time and reflects the coincidence that gives the meaning of utilized location according to the season trend. Fourth, the cross-breeding is expressed as the mixture of various materials in the fashion illustration. The expressions made by the mixture of media, such as the use of computer graphic programs mixed together with various materials showed the trend of diversity and genre dissolution.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.110-119
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• 2013

Since the early 20th century photo based art and effort to creative experiment, to pursue the essence of creation to escape from stereotypes between form and media, expression and technology, has been continued persistently. Photomontage was born as an artistic attempt for the new representation. Basically photomontage is configured to visually emphasize the message as a work to produce new meaning by combining the various images that are intentionally selected. The photomontage as a visual art, dialectic of text and image that is to pursue a new format to be out the concept already existing, have been developed, the concept is similar to the modern multiple art. The value of photo montage is to explore of the photo, not limited to describe or reproduce as a deformation, the new possibilities for creative expression and the experience of the day-to-day operation for the implementation of the scheme.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.849-858
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• 2017

With the fast improvement of software and hardware technology of Virtual Reality, VR(Virtual Reality) film get attention for the new possibility of future film. Already, the production of virtual reality film festivals and Hollywood films is highly active, but it is still poorly related to virtual reality films in Korea. Due to this, this research analyze VR film with Realism films and Post-modernism films in four aspects that are film's frame(Mise-en-$Sc{\grave{e}}ne$), shot(montage), vew point and interactivity to deduct characteristics of VR film. Moreover, we also deduct an esthetical characteristic of VR films beyond the Realism films and Post-modern Films through analysing various VR films. This can be said as 'Digital Realism' that is come from the viewers' positive interaction and realization of Realism through Virtual Reality technology. There will be a successful development of VR film based on this research that analyse suitable directing method for Virtual Reality environment. At last, this research focused on characteristics of digital realism aspect for HMD based first person view VR animation .

• 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 Institute of Landscape Architecture
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• v.13 no.2
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• pp.13-26
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• 1985

^x The enviroment defines the living conditions for people and has at the same time the possibility to create new environment. In Korea, where the rate of urbanization reached more than 50% in 1970′s the priority has been put on the economic development and administrative function. Under the circumstance, visual environmental field was dealt lightly and it resulted in undesirable environment. The techniques of Mordern Arts (Montage, Depeysment, Tromp L′oeil, P.O.P Art, etc.) helped Super Graphics appear in the urban areas. Environmental Art has been expended into the public space and people came to recognize the Arts as the "Street Art" or "Street as Gallery". Super Graphics has four types 1) Resident′s Super Graphics ; Minority groups came to maintain social equality and rights, in cooperation with each other. Such maintenance required general urbanites to form communities which gave birth to the community art, Mural Painting. 2) Environmental Super Graphics ; Beauty has come to be stressed in order to improve the quality of urban lives in the course of inescapable urban development. Instead of renewal of all established construction conservation oriented renewal was encouraged. 3) Super Graphics as Population Arts ; In the 1960′s artists repulsed the establishments in an efforts to open new phase independent from the expressional in the arts. They recognized the relationship between painting, society and the public in different angle and tried to describe all living space on canvas. 4) Super Graphics as Advertisement ; Super Graphics functions as efficient media to deliver images to the urbanites. Super Graphics as media plays the role for political propaganda and commercial advertisements according to their purposes. In Korea, especially, it is required to introduce the environmental Super Graphics. But it is desirable to introduce Super Graphics with Korean culture and sense of beauty. Designers themselves are also required to have responsibility to improve the quality of urban culture.

• Cross-Cultural Studies
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• v.33
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• pp.193-239
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• 2013

A photograph, which was applied to contemporary art, plays a very important role in the whole of the multiplied and diversified contemporary arts today. The application of photos, which were shown in contemporary art following the 1950s, can be classified into five types according to role and function of a photo in the process of developing a work. However, this classification is shown a little ambiguously. That is because photos of being utilized by artists are indicated very diversely depending on their artistic strategy and situation. As the first type, a few painters utilize a photo as mirror of reality in order to materialize a challenging and revolutionary idea with going against traditional picture in their pictorial practice. As the second classification, especially American painters utilize a photo as material component of forming their picture like photo-montage or collage. The combined application of this medium is first doing genre de-construction and hybridization of post-modernism in the 1980s while ultimately aiming at social criticism or political satire. The third type implies particularly a case that avant-garde artists utilize a photo as evidence of a work. In this case, a photo is employed as evidence of a work, which disappears in the temporal space essentially like body art, land art, and performance. Also, as the fourth type is a case of utilizing a photo for artistic concept of a work, not pictorial practice of picture, it is utilized often as important artistic strategy of conceptual artists. The final type of utilizing photo is a case of applying photo as formative tool on behalf of dye-stuffs or crayon in order to record a section of reality, which always continues regardless of event or meaning any more, in the traditional picture. In this case, a work is indicated as a photo of having a form of picture, namely, as Forme-tableau. The main subject is indicated there as a daily case of being repeated always the extremely common and revived theme.

• Journal of Digital Convergence
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• v.16 no.11
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• pp.447-454
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• 2018

The purpose of this study is to analyze the historical background and characteristics of pop art style and motif expressions in the works of artists by analyzing the theoretical study of pop art and analyze how the expression characteristics are applied to ceramic works. As a result of the analysis of the work, various images of everyday objects in popular culture are expressed in various ways such as bright and colorful colors, silk screen, lettering, photo montage, cartoon expression, object, collage, decoupage, It is believed that the art of ceramics will be created as a creative work that reinterprets the artistic value rather than reproducing the art based on the technique of pop art. I look forward to the development.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.359-382
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• 2009

Eliot's The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make "Gerontion" a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. "Gerontion" was published separately, as an independent poem. Between "Gerontion" and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that "Gerontion" would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound's judgment. Both "Gerontion" and The Waste Land have similarities in theme and techniques. The theme of both works is "aimlessness, spiritual sterility, barrenness" in modern man living in the waste land. For example, in "Gerontion," there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames's daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, "Gerontion" and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the "Objective Correlative" that he has invented.