• Korean Institute of Interior Design Journal
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• v.24 no.4
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• pp.51-60
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• 2015

This study aims to establish the foundation for a simultaneity research, draw the potential through Bergson's simultaneity, and explore a space with the possibility of a continued change, focusing on the simultaneous process, in which physical mobility and consciousness of space last together. First, this study was focused on understanding Bergson's simultaneity, on the basis of the perspective that space needs to have more active, dynamic mobility. For understanding Bergson's simultaneity, the understanding of Bergson's duration conception, memory and perception was preceded. After that, the characteristics of simultaneity were extracted from the concepts of duration, change, memory and perception and its characteristics, which are connected to space, were analyzed. As a result, the study on simultaneity that was intensively analyzed, based on diverse cases, re-awakened the basis of value or thought, which we must aim at, in space design of the present time. This shows the possibility of another creative form that can be found in spaces of the present time and serves as the foundation to discover an essential and potential value of space in space design. Moreover, the combination of space with science, humanities, art and digital media technology demonstrated once again that there is a good possibility of approaching non-representational space that is pursued today and it is anticipated that using Bergson's simultaneity as a medium for spatial combination in their relationship would help in drawing deeper internal meaning and potential of space.

• Journal of architectural history
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• v.15 no.2
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• pp.115-136
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• 2006

Colin Rowe's 'Transparency' is one of core ideas applied to 20th Modern Architecture. It implies not only an optical characteristic, the perfectly clear, but also a broader spacial order, a simultaneous perception of different spacial locations. The former connected with physical attribute itself, and the latter deeply with the metaphorical idea of time, 'Simultaneity', embodying a new spacial quality. However, If we analyze the meaning of "Simultaneity" implicated in "Transparency" with the perspective of Henry Bergson's "Duration", there would be only little possibility as a solution to the problem of embodying a new spacial quality in architecture. As such a question emerging, this paper attempts to point out the problem of Colin Rowe's idea, "Simultaneity", and suggest a new architectural design method to overcome its inconsistency by interpretation and application of Bergson's "Image and Rhythm".

• The Bulletin of The Korean Astronomical Society
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• v.36 no.2
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• pp.80.2-80.2
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• 2011

The sudden decrease of galactic cosmic ray (GCR) intensity observed by ground neutron monitor (NM) is called a Forbush decrease (FD) event. The intensity time profile of FD event looks like the geomagnetic storm visualized by geomagnetic storm index Dst. Oh et al. [2008] and Oh and Yi [2009] classified the FD events into two kinds by criteria of the overlapping simultaneity of main phase in universal time (UT). The FD event is defined simultaneous if the main phase parts observed by the stations distributed evenly around the Earth are overlapped in UT and non-simultaneous if ones are overlapped in each station's local time (LT). They suggested the occurrence mechanisms of two kind FD events related to the interplanetary magnetic structures such as the interplanetary shock (IP shock) and magnetic cloud. According to their model, the simultaneity of FD depends on the strength and propagation direction of interactive magnetic structures overtaking the Earth. Now the STEREO mission can visualize the emergence and propagation direction of the coronal mass ejection (CME) in 3-dimension in the heliosphere. Thus, it is possible to test the suggested mechanisms causing two different types of FD events. One simultaneous FD observed on February 17, 2011 may be caused by a CME heading directly toward the Earth observed on February 15, 2011 by the STEREO mission. The simultaneity of FD event is proved to be a useful analysis tool in figuring out the geo-effectiveness of solar events such as interplanetary CMEs and IP shocks.

• Journal of Oriental Neuropsychiatry
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• v.8 no.1
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• pp.2-35
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• 1997

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.3-9
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• 2002

Entering into the 21st century, digital culture and the innovation of media technology have drastically changed our understanding of the concept of space. Increased availability of information made possible by technological advancement has, directly or indirectly, contributed to the development of space design, which, in turn, offers a possibility for a new paradigm in space design. Given these fundamental changes, this study seeks to explore how to understand the expansion of the concept of space. In order to answer this question, this study investigates de-materialization tendency in modern architectural design such as transparency, anti-gravity, complexity and simultaneity of space. It examines the interaction-oriented nature of space among human, information and time. Finally, based on concepts such as new hyper-surface, which transcend the limitations of space and time, it explores new emerging trends in space design.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.209-221
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• 2013

This study has attempted to investigate the effect of cubism on fashion and figure out how its formative characteristics have been expressed in contemporary fashion in the 21st century, focusing on the period since 2010. The propose of the study is to broaden research scope in fashion design through analysis and inspection on formative aspects among the cases which have proposed brand - new fashion designs by adapting cubism in fashion. To find out the characteristics of cubism in painting and formative characteristics of contemporary fashion in which the characteristics of cubism are reflected, a literature review has been conducted by referring to domestic and foreign books, previous papers, academic journals and Internet resources on cubism. For an empirical study, in addition, photos of cubism-applied modern fashion have been collected and analyzed through http://www. samsungdesign.net. The following results have been obtained: First, the formative characteristics of cubism were obtained in following categories; character of figure, simultaneity, reiteration and facticity. Second, according to analysis on cases after applying the formative characteristics on contemporary fashion design, the character of figure by the geometric shape of cubism was observed in fashion as well. After dismantling and reconfiguring garments, simultaneity has been expressed in an exaggerated and distorted manner through regular and repetitive overlapping or overlapping of irregular shapes. In terms of facticity, novelty has been delivered with the use of heterogeneous materials, using collage and patchwork techniques. Third, simplicity and functionality in cubism - style garments in the early 20th century have disappeared in contemporary design in the 21st century. Now, a dynamic aspect is only found. Fourth, unlike common paintings, 2D textiles are added to a 3D body in fashion design. In addition, it can be observed from multiple angles depending on the movement so that it can display more diverse shapes. Therefore, it could be the origin of inspiration to many designers.

• Journal of the Korean Applied Science and Technology
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• v.38 no.4
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• pp.1195-1208
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• 2021

This study aims to find the fundamental problem of skepticism as a PE teacher. For above, a PE teacher, Jun-ho Lee is selected as a participant of this study and used the life history method. Based on the result of above, the contents of 1) 'Stereotype and subculture', 2) 'Changing in discipline.', 3) 'Confusion and self-accusation', 4) 'Ordinary teacher, not a true teacher' is drawn. This result shows that the skepticism concerned the teacher can be explained as 'irony of change' and it is confirmed that this is originated by the fundamental background as 'simultaneity of non-simultaneous'. In conclusion, the emotional exhaustion due to the inconsistency of 'simultaneity of non-simultaneous' existing in the school is inevitable consequence, and on the other hand, it shows that he is an ordinary PE teacher and it helps to understand the life and worry of ordinary PE teachers in Korean society.

• Bulletin of the Korean Space Science Society
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• 2006.10a
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• pp.49-49
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• 2006

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.85-95
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• 1986

Sonia Delaunay(1885$\~$1979) was one of great pioneers of abstract art, who looked at clothes and fabrics with a plastics eyes. In Association with her husband Robert Delaunay, they were instrumental in founding the movement of Orphism, she proceeded to mix strong and bright colors into her art and had a brilliant influence on the decoration and women's fashion of the 1920's. Having a strong sense for dramatic and decorative color derived in part from childhood remembrances of Russian folk art she initiated a total revolution in which she created her first simultaneous dress with multi-colored samples of materials. She extended the principle of color's simultaneity to the field of fashion, fabric design and applied art. She was interested in the dress for ballet and opera. Fashion designer Paul Poiret asked her to design the fabrics and she created the geometric and abstract patterns with her strong color. It seemed that her design was revolutionary and avant-garde. Always she desired not only art of seeing but also art of living. The purpose of this study is to recognize the influence she had upon the history of modern fashion and fabric design. It was remarked that her paintings served as a basis for later developments in Kinetics Art and had influences on 1980' s abstract patterns for silk dress. Finally, the concept 'simultaneity' of her art signifies endless rhythmes in space and time.