• 한국가구학회지
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• 제26권2호
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• pp.101-111
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• 2015

Today, boundaries between genres are collapsed and there are mutual convergence and consilience in each field of the society. In art and design, new concepts for the convergence of art and design, such as graft of 'art and design' and 'technology and art', 'art design', 'commercialization of art', etc, are suggested. Especially, furniture is changed from the furniture as a living tool whose purpose is practical properties to the furniture combined by artistic properties and emotional factors with a concept related to the convergence of art and design, such as 'design as an art', 'useable art', etc. For the evidence, Artfurniture which was treated as just a part of decorative arts is focused by expressive media of the convergence between art and design and it became a genre of independent art. In addition, it is approaching to people as 'furniture as an art' and 'art as furniture'. Popularization of art and art of design are generalized and now, it's meaningless to divide the boundary between art and design. Before the discussion about convergence of each concept in non-boundary phenomena of art and design, it should be grasp essentials of art and design and understand the boundaries. The exploration of the essences and roles will be the first step to find new value through the convergence of art and design. Therefore, this thesis intends to grasp the stream value of two concepts have been changed by examining periodical situation, market changes, etc. from division between previous art and design to modern times, based on them, analyze roles of art and design in modern artfurniture and interpret relations between art and design for current time.

• 한국조경학회지
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• 제13권2호
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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.

• Structural Engineering and Mechanics
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• 제81권6호
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• pp.665-675
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• 2022

The safety problems of giant hydraulic structures such as dams caused by terrorist attacks, earthquakes, and wars often have an important impact on a country's economy and people's livelihood. For the national defense department, timely and effective assessment of damage to or impending damage to dams and other structures is an important issue related to the safety of people's lives and property. In the field of damage assessment and vulnerability analysis, it is usually necessary to give the damage assessment results within a few minutes to determine the physical damage (crack length, crater size, etc.) and functional damage (decreased power generation capacity, dam stability descent, etc.), so that other defense and security departments can take corresponding measures to control potential other hazards. Although traditional numerical calculation methods can accurately calculate the crack length and crater size under certain combat conditions, it usually takes a long time and is not suitable for rapid damage assessment. In order to solve similar problems, this article combines simulation calculation methods with machine learning technology interdisciplinary. First, the common concrete gravity dam shape was selected as the simulation calculation object, and XFEM (Extended Finite Element Method) was used to simulate and calculate 19 cracks with different initial positions. Then, an LSTM (Long-Short Term Memory) machine learning model was established. 15 crack paths were selected as the training set and others were set for test. At last, the LSTM model was trained by the training set, and the prediction results on the crack path were compared with the test set. The results show that this method can be used to predict the crack propagation path rapidly and accurately. In general, this article explores the application of machine learning related technologies in the field of mechanics. It has broad application prospects in the fields of damage assessment and vulnerability analysis.

• 미술이론과 현장
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• 제5호
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• 한국과학예술포럼
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• 제24권
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• pp.399-409
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• 2016

본 논문은 유네스코 지정 미디어아트 창의도시 8개 도시 중 모범적인 3개 창의도시와 주요축제를 각각 미디어아트와의 연관성을 조사하였다. 창의도시 관점에서는 그 도시만이 가지고 있는 역사, 자연환경, 인적자산 등 장점의 극대화를 바탕으로, 도시의 비전과 미디어아트 창의도시로서 일치화가 필요하며, 창의도시 컨트롤타워의 일관성 및 지속화로 도시의 지속가능한 성장을 모색해야 한다. 지역축제 관점에서는 미디어아트 관련 축제를 차별화하여 세계적인 축제로 집중육성하고 비관련 축제들을 미디어아트와 융합을 유도하고, 미디어아트 프로그램의 다양화와 대중화, 그리고 온·오프라인 축제와 아날로그·디지털 축제의 융합으로 청년들의 참여를 이끌어내야 한다. 결국 미디어아트 창의도시 구축을 위해서는 도시 고유의 장점을 극대화하면서 미디어아트의 일치화를 통해 미디어아트 창의도시로서 이미지를 제고하고, 다양한 축제들을 미디어아트 기술의 융복합화 및 차별화로 세계적인 축제를 만들 수 있는 창의도시와 지역축제의 융·복합과 협치가 필요하다는 결론에 도달하였다.

• Asia Marketing Journal
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• 제14권2호
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• pp.177-207
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• 2012

문화예술상품은 일반 소비재와 달리 소비자의 가치인식에 따라 중요한 소비의 대상이 되기도 하고 그렇지 못할 수도 있는 특별한 상품이다. 물질적 소비재나 서비스 상품은 상품속성이 주는 물질적 및 비물질적 혜택을 상정하여 상품을 개발하고 그에 따른 마케팅전략을 수립하는 것이 효과적일 수 있다. 그러나 문화예술상품 소비는 소비자의 경험과 교육 등에 의해 형성된 문화예술에 대한 가치인식에 따라 소비추구혜택이 달라질 수 있고, 가치인식과 추구혜택은 문화예술상품의 속성을 선택하는 기준에 영향을 미칠 수 있을 것이다. 본 연구는 '문화예술상품에 대한 가치인식과 추구혜택에 관한 질적 연구'의 후속연구로서 질적 연구에서 나타난 개념구조를 바탕으로 문화예술상품에 대한 소비자의 가치인식 및 추구혜택과 상품속성의 하위차원을 규명하고, 수단-목적 사슬이론을 역으로 적용하여 문화예술상품에 대한 소비자의 가치인식이 추구혜택과 상품속성에 미치는 영향을 규명하고자 하였다. 그리하여 문화예술상품 생산 및 문화예술 정책기관과 문화예술을 활용하는 기업의 문화마케팅의 효율성을 제고하기 위한 실무적 시사점을 제시하고자 실시되었다. 10대 이상 50대 남녀 662명을 대상으로 자료를 수집하고 요인분석과 경로분석을 실시하였다. 예술상품에 대한 소비자의 가치인식과 추구혜택의 하위차원은 질적 연구 결과와 유사하게 나타났으며, 가치인식은 대부분 추구혜택을 매개로 하여 상품속성에 영향을 미치는 것으로 나타나 질적 연구결과와 마찬가지로 수단-목적사슬을 역방향으로 적용하는 것이 타당함을 입증하였다. 즉, 문화예술상품에 대한 소비자의 가치인식이 실제적 편익으로 구체화되고, 소비자는 이러한 추구혜택에 따라 상품속성의 중요도를 고려하여 구매의사를 결정하는 것으로 볼 수 있다. 본 연구는 문화예술상품에 대한 소비자의 가치인식을 긍정적으로 형성·강화시키는 것이 가장 중요한 소비 촉진 요인임을 입증하였으며, 문화예술상품 생산기관에서 소비자 중심의 상품개발과 기업의 효율적인 문화예술마케팅 전략을 개발하기 위한 소비자 정보와 실무적 시사점을 제시하였다. 또한 본 연구 결과는 국민의 삶의 질을 향상시키고자 하는 국가기관의 정책 수립을 위한 유용한 정보로 활용될 수 있을 것이다.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.58-67
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• 2015

Expressionism is an art trend that prospered in the early 20th century and was represented in art activities in the diverse fields. As capitalism spread and people underwent wars, people's consciousness became impoverished, and it was created by the artists as a reaction against this, and notable achievements were made in film art and this is called expressive film which still inspires many artists. The modern age is a multicultural age and art is not limited to one area but influences many fields and interchanges and communicates with one another. This study attempts to analyze how an art trend has been passed down and developed and has influenced modern space. The purpose of this study is to derive the keywords of their characteristics through expressive films and to study how expressionism has been transformed and represented by putting them into modern space and to explore new perspectives and directions. First, the theoretical backgrounds of expressionism and expressive films were examined through the analysis of the existing researches, and the types of the characteristics of the space represented in the films were classified. Based on this, the representative expressive films were selected and the keywords of the characteristics of the expressive films were derived. A museum among modern spaces is a space that reflects the art trends and culture of the times and modern spaces are represented best in it. Also, recently the construction of museums has been vitalized and has explosively grown quantitatively and qualitatively, and shows diverse designs to the point that they are called the laboratory of modern architecture, so by analyzing the cases focusing on museums among modern spaces, the conclusion was derived. As a result, it could be seen that the expressive film space is represented diversely in the museums by the architects' inner desire of expression, centering on nonlinear expression, nonobjective form, and representational perception.

• 복식
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• 제55권5호
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• pp.120-130
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• 2005

The main feature of Buddhist sculpture Is said to lay in how it can materialize the divineness. Therefore lots of people used to pay attention to whether its religious features draw people's reverence or not. However, the robe of Buddhist sculptures has not won its proper attention. The Buddhist robe Is usually considered as a mere measure to make Buddha's supernatural feature more vivid. However, contrary to our expectation, the robe is the very real one which can be found in people's lift. The Gandhara Buddhist sculpture robe does not have sleeves, but several sheet of clothes covered the sculpture. Moreover, we can find same features in monk's robe which appeared in the Gandhara art. I can therefore conclude that this robe is not confined to Buddha, but is very popular one in that time in Gandhara. This article would survey the main feature and its relevant things about Gandhara Buddhist sculpture's robe, especially its change process while it had been transmitted to China.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 한국가구학회지
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• 제26권4호
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• pp.364-372
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• 2015

Mendini works architect of magazine. He is a era-transcending designer who started design in late fifties and still works actively. In his design, there are some ordinary emotions which make people easier to approch to than without having any resistance. The purpose of this research paper is to define the traits of Mendini's design work. There are four main characters in his design; post-modernism, combination of art and design, use of contemporary art and traditionary italian colors and redesign. Mendini interpret tradition in modern way. His individuality came from the tradition, and also he modernized italian tradition to it.