• The Research Journal of the Costume Culture
• /
• v.6 no.1
• /
• pp.136-148
• /
• 1998

This is a study on the change of the Medievalmen's underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Throughout the Middle Ages, the underclothing of both sexes possessed characteristic inherited from earlier times. Its function was purely utilitarian. It was not used to express class distinction and only very indirectly to enhance sex attraction. The idea of underclothes was associated with the idea of the body's sinfulness. Underclothes could also symbolize the discipline of humility. To appear clad only in underclothes was a voluntary form of selfabasement often practised by pilgrims. The notion that underclothes might express the spirit of the changing times, in sympathy with the outer clothing, did not enter the medieval mind. The length of the shirt was less than that of the modern garment, especially after the middle of the fourteenth century. The sleeves were somewhat full, without cuffs, and cut straight. During the second half of the twelfth century, when braies become definitely an undergarment. In the fourteenth century braies became shorter and shorter and the shirt could no longer be tucked in but hung outside over the thighs. After 1340 the costume on the surface somewhat resembling modern 'tights', began to reveal display the shape of the male leg as a form of sex attraction. By the close of the Middle Ages, braies had become less like loincloths, and more like modern bathing trunks. The peasant and laborer did not attempt to keep pace with the changes of fashion but, continued, as a rule, to wear the long braies of their forefathers. The higher ranks how this garment reflected the changes of the mode of outer costumes.

• Journal of Digital Convergence
• /
• v.15 no.6
• /
• pp.467-479
• /
• 2017

The purpose of this study was to identify the relationship among golf wear selection attributes, customer satisfaction, brand attitude and repurchase intention In order to achieve this purpose, 204 spectator were selected from department of golf at university and golf wear store in seoul by the convenience sampling method. The instrument for data collection was a questionnaire whose validity was evaluated by an expert group and whose reliability was judged from the cronbach's alpha values ranging from .826 to .945 The results first, it showed that aesthetics and dailiness of golf wear selection attributes had positive effect on customer satisfaction. Second, it showed that customer satisfaction had positive effect on brand attitude. Lastly, it showed that customer satisfaction had positive effect on repurchase intention. Therefore, golf wear firms should understand what consumers' Selection Attributes. And they should devise effective strategies.

• Journal of Families and Better Life
• /
• v.8 no.1
• /
• pp.69-82
• /
• 1990

The purposes of this are to figure out the amounts of leisure time of full-time homemakers and to find out leisure time factors contributed to raise the quality of life. The major findings are the followings: 1) Full-time homemakers spend 353 minutes(5.9 hours) on the average per day on the leisure. Time for active leisure(creative activities, sports activities, spectator events, going to the party, and so on) is 70 minutes, while that for passive leisure(watching TV. listening to the radio, reading newspapers. magazines. Books, chating, relaxing, card playing) is 283 minutes(4.7 hours). The passive leisure is the main type of spending leisure time. 2) The total leisure time of wives is significantly related to SES factors. The higher the wives age and education, the family income, and the age of the latest child, the more the wives total leisure time. But the more the family numbers, and the child numbers, the lower the leisure time. Active leisure time is highly rela ed to family income, while passive leisure time is considerably family composition. 3) The wives are mostly satisfied with their lives. The wives perceptions of the quality of life is related to wives's education, house type, and family income. 4) The wives total leisure time is not related to the quality of life. There is a positive correlation between active leisure time and the quality of life, while a negative relationship is between passive leisure time and the perception of the quality of life. 5) In analysis of causal model, it appears that family income and active leisure time of wives directly affect the perceived quality of life. The more the family income and active leisure time, the higher the quality of life. it is implicated for wives to take and active attitude and to reduce, if possible, passive leisure time and to increase active leisure time.

• The Journal of the Korea Contents Association
• /
• v.12 no.12
• /
• pp.597-604
• /
• 2012

In order to actualize the third dimension form, hologram is coming to attention because it has no restriction on viewing position and is capable of natural visual expression. Although hologram technology is the best method to embody 3D image without glasses, it is not commercialized due to several technological problems. Currently used hologram technology in concerts or exhibitions are images flashed on a 2-dimensional transparent screen by HD projectors which is similar to hologram technology, not truly same. In this research, we make 3D contents for Holographic projection and use these contents to present art that can interact with spectators. As a result of the exhibition, attendance showed satisfaction on inspection form, allowing spectators to move around the screen and view it both sides; moreover, they were enterprising to interact with the videos played according to their movements. Therefore, we are able to implement a sensible and spatio-temporal artwork along with interesting space production and represent a intimate and interactive space with the public.

• The Journal of Art Theory & Practice
• /
• no.13
• /
• pp.133-156
• /
• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• Korean Institute of Interior Design Journal
• /
• v.22 no.5
• /
• pp.22-32
• /
• 2013

Today, the museum historical material and mental, physical culture and heritage to preserve the collection and exhibition organization rather than to recognize that culture acts as a community to respond to the subject of the attitude and the ability jeokgeukhwa also due to the trend of the times due to changes in lifestyle education and research, and public participation in culture by expanding the role of dissemination activities are becoming. Museum exhibit these changes as part of a combination of various technologies in the coexistence of digital and analog display direction proactive and aggressive behavior, such as visitors expect to have an evaluation of the public and communicate the expectations of the plan in the exhibition space, the larger the effect can feel. This effective display for visitors to watch the way for a systematic approach to provide direction to the urgent reality. Museum visitors experienced officials to improve the quality of research in a variety of ways spectators began to try and move the action was to put the attention on the characteristics. Visitors to visit the Museum of History and ages, categorized by the type of display any difference in the behavior of the visitor experience and attributes based on what is being investigated for the History Museum's exhibition of any exhibit to visitors that experience and is to an analysis.

• The Journal of the Korea Contents Association
• /
• v.12 no.9
• /
• pp.40-47
• /
• 2012

Existing art, media art, accompanied by a new path of awareness and perception instrumentalized by the human body, creating a new way to watch the interaction is proposed. Western art way to create visual images of the point cloud that represented a form that is similar to the Pointage. This traditional painting techniques using digital technology means reconfiguration. In this paper, a new appreciation of fusion of aesthetic elements and digital technology, making the point cloud in the form of video. And this holographic film projection of the spectator, and gestures to interact with the video content is presented. A Process of making contents is intent planning, content creation, content production point cloud in the form of image, 3D gestures for interaction design process, go through the process of holographic film projection. Visual and experiential content of memory recall process takes place in the consciousness of the people expressed. Complete the process of memory recall, uncertain memories, memories materialized, recalled. Uncertain remember the vague shapes of the point cloud in the form of an image represented by the image. As embodied memories through the act of interaction to manipulate images recall is complete.

• Journal of the Korean Society of Costume
• /
• v.63 no.6
• /
• pp.97-112
• /
• 2013

In this study, physical, social and psychological repression embodied by the body and clothing are referred to instinctual, power and creative desires, respectively, from the point of biological, social and aesthetic views. Desire refers to a behavior to overcome men's imperfections with individual security, sense of belonging and the pursuit of an ideal, which are obtained by living as a social creature. Repression through the body is sub-categorized depending on whether it is temporary or permanent. Repression expressed through clothing is seen through revealing/concealing, contraction/expansion, and deconstruction/ reconstruction. What enables human beings to embrace changes in fashion without fierce resistance or backlash is the changes of formativeness demonstrated by repression through the body and clothing. The aesthetic values drawn from the exhibition of repression and on the body and clothing are categorized into narcissism, fetishism and aestheticism. While narcissism is an instinctive desire grounded on the originality and confidence of the self that results in refusing repression, fetishism is a desire for power that expedites repression in the pursuit of materialistic value or sexual fantasy. Aestheticism is a desire for creativity that symbolizes the body-and-clothing repression in the pursuit of aesthetic idealism. Repression evokes desire, and the pursuit of desire leads to another repression. The aesthetic values of desire for instinct, power and creativity can be substituted with each other for interpretation according to the attitudes of an initiator, a user and a spectator.

• Korean Institute of Interior Design Journal
• /
• v.15 no.3 s.56
• /
• pp.155-162
• /
• 2006

Space is integrated or segment with organic formation by circulation path. It estimates important problem to grasp as factor that promote movement of visitor and space organization without grasping circulation as connection relation about simple space function from these viewpoint, is a thing which this study does not cause confusion to visitor's circulation path through data that analyze form of space connection and visitor's circulation path as quantitative in museum space and layout form that access by easy each unit exhibition grasps what it is. This study does factor grasping for guideline and inspection circulation path of layout by purpose in exhibition space on the basis of analytical result that grasps connection form between exhibition area that grasp laying stress on visitor's movement and appears in space through follow-up survey for circulation path of museum exhibition area. Space connection form that is expose by sequence of investigation and analysis(II) estimates on constituent affecting to visitor's circulation, and these do not speak for all space connection forms at the museum, but may systematize typology about connection form of unit spaces to utilize by indicator pointer of space planning if continue study to various spatial sphere more than hereafter. Unit exhibition area, divide connection form of space by grid and tree and laying stress on this quantitative data by spectator follow-up survey comparison and Estimate that space connection form provides partial basis of judgement for supposition that can promote direction and circulation path about visitor's movement if summarize result of investigation and analysis (III).

• International Journal of Advanced Culture Technology
• /
• v.9 no.3
• /
• pp.62-67
• /
• 2021

This thesis examines the term a performer's sincerity taking into consideration issues of the bodily engagement and specifically addressing the place of a performer's respiration. The main emphasis in this research will be on the tendency to a performer's anticipation in contrast to a state of being in the moment on stage. Exploring and reconsidering the process of training the performer's body reminds us the significance of rigorous training in an appropriate way(s) within which the performer's body enables to meet the principles of acting with the nature of theatre as his/her body is responding and subordinating to the moment on stage. Here, this thesis argues that we need to acknowledge that initiating any bodily movement has to understood and then inhabited by negating a performer's active willingness where the source of energy, breathing roots, then transfers through the entire body rather than the mere use of the external forms or muscles. To be precise, maintaining the internal energy through the moment informs how the performer interrogates where and what s/he is in a state of whole body engagement preventing the performer's self-doubt about what s/he is doing in the next moment(s). The process should be considered as a qualitative bodily shift gazing into his/her inner territory to reach behind a linguistic and/or an intellectual sense. The research finding suggests that a performer's art is to allow the animating respiration in order to facilitate and enliven his/her entire body as oneness which in turn moves his/her scene partner(s) as well as the spectator in the here and now.