• Journal of Fashion Business
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• v.26 no.5
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• pp.76-90
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• 2022

The rapid growth and influence of digital technologies have had a profound effect on modern society. Companies and businesses can connect through SNS(social network service accounts). The importance of mass media empowers the creation of virtual images that are more realistic than time and space. Unlike traditional reproduction or imitation, the virtual images created in this way are reproduced in a form that lacks the original inspiration's essence. Jean Baudrillard described this phenomenon as the theory of simulation. Baudrillard argued that imitated simulated images replace reality. He stated that reality is lost under excessive images in modern society. In response, based on an understanding of the theory of hyper-reality that emerged through the late stages of the order of simulacre, this study aimed to analyze modern fashion's method of reproducing hyper-real images and investigate the method's characteristics. This study examined the characteristics of hyper-reality described by Baudrillard and analyzed the method of artistic expression of hyper-reality. Based on this method of expression, reproducibility, following the stages of image simulation, was derived. A specific case applied to fashion was analyzed, and based on the image reproduction method, specific characteristics of hyper-reality characteristics in fashion were obtained. Sixty-four collections were selected, out of which 155 images and 43 brands demonstrated the principles of image transformation.

• Korea Science and Art Forum
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• v.20
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• pp.327-337
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• 2015

There is growing tendency to find rest in one's own space for senses of isolation and loneliness were felt as excluded from the contemporary society. It is necessary for a private space to be reproduced as a place of consolation and cure beyond rest. This study is dealing with project research works, which are exhibited in 2014 Home Table Deco Fair with the theme of for individual rest and consolation. This study, based on the investigation of Korean lifestyle and trend, considered design, in the living space of modern people with Korean-style design, and in the perspective of color, quality of material, and aesthetic sense, and suggests that design convergence of the east and the west. This study can contribute to recreate meaning and principles of design based on Korean aesthetics and culture according to the needs of the present age.

• (The) Research of the performance art and culture
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• no.38
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• pp.5-31
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• 2019

This article aims to examine the concept and historical background of Applied Theatre and its major characteristics as a newly emerging theatrical practice in recent years. With these aims, the article chronicles the history of how Applied Theatre has developed and formed as an overarching umbrella term that encompasses different theatrical praxis. Given the ambiguity and confusion of this practice, the article argues the importance of recognizing the Applied Theatre's shifting paradigm of subject and object, a crucial element in understanding the practice. Further discussed is the exploration of 'community' in regards to comparing the similarities and differences among Applied Theatre, Community Theatre, and Community-based Performance. The article concludes that the essential comprehension of Applied Theatre's uniqueness comes from noticing and perceiving the paradigm shift that places participants and community as a subject of theatrical transaction rather than as an object, as traditional theatre has done so far.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.328-333
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• 2023

Breaking the fourth wall is a very popular concept right now, and depictions of breaking the barrier between virtuality and reality are often used in game advertising. In VR games, game manufacturers describe the experience after breaking the fourth wall as an experiencer who will be completely immersed in the virtual world, as if they are actually living in the virtual world. At the same time, research in the field of traditional drama also shows that breaking the fourth wall can also bring a sense of alienation to the player, allowing the experiencer to clearly realize that he and the character are in a completely different world, and to conduct aesthetic criticism of related works of art.So why there are two completely different feelings after breaking the fourth wall will be the content of this article. This article will focus on the theoretical analysis of the relationship between two different cognitions and two completely different cognitions after breaking the fourth wall. Finally, it will be analyzed from three directions: game perspective, game art style, and different world views of the game. Finally, it was concluded that when players break the fourth wall in the game, these three factors will cause the experiencer to have two completely different cognitions.

• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Culinary science and hospitality research
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• v.22 no.5
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• pp.200-213
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• 2016

This study is to compare the differences in food quality between traditional Korean restaurants and Western-style restaurants, and then to identify the shortcomings as traditional Korean food prefered than western food. The object of this study is not only to provide the basic data of the domestic food service industry to enable the traditional food ingredients but also increase the sales produced in the farm and fishing economy. Western-style and traditional Korean restaurant food quality were subjected to an IPA analysis to understand the importance and satisfaction with each of them. The IPA analysis of Western-style restaurants and traditional Korean restaurants showed that using regional specialties ingredients, healthy food, and the number of dishes in a set menu were commonly included in the first quadrant. Menu planners of Korean restaurants in should consider the need to develop traditional food using regional ingredients prepared by a reputable chef from the region, and develop delicious healthy food using local specialties without artificial flavors. In addition, considering the demographic characteristics, the ideal food should target visitors in their 40s who with 300~400,000 to spend with friends or colleagues.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.224-237
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• 2012

Based on the Olympic Park in Seoul and Beijing, respectively, a analys is of the two successful examples of the designers in a traditional way to design a unique culture of a traditional folk culture. Rooted in traditional culture to create their own characteristics, and by studying abroad, a good way to design a unique work not to pursue the international trend has been displayed now. Based on the above two parks of the application of the traditional culture of analysis and studying the literature, I summarized the traditional culture in modern landscape application methods as follows:Firstly, understand the traditional culture. Secondly, the method can be divided into four steps, namely, to preserve, to reproduce, to imitate, and to learn from. 1. A reservation is divided into functional retention and conversion of the prototype. 2. Reproduction is also divided into two types, first is the site of reproduction and the reproduction of literature or legend. 3. Simulation includes three types, the original use, changed use and re-creation. Imitation. 4. Reference. In a garden design, the other art forms or cultural phenomena reference are always allowed and encouraged.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.22 no.1
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• pp.22-29
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• 2013

In general, to conduct aesthetic restorations, various analyses are carried out using a camera from the initial examination with the final prosthesis in consideration. With the reality that many dentists are using digital cameras, it can be considered that the time of digital impression has already started. Just as the recent general trend is that more and more internationally renowned photographers are switching their film cameras to digital counterparts, it is likely that CAD/CAM will show another direction in the area of the aesthetic dentistry that we may want to pursue. With the word 'digital', the convenience and economics often come to mind in the first place. However, from the dental clinical viewpoint, it is important to improve and develop the CAD/CAM system based on understanding its specialty and superiority while respecting the conventional analog techniques. However, a regretful aspect is that it is often difficult to catch up with the latest advancements for proper referencing and follow-up of digital technologies since the CAD/CAM device and material are developing very rapidly. Accordingly, although it is ideal to have hands-on experiences in various digital material and devices, and adapt to their fast changes, it must be stressed that the clinical application is to be implemented on the basis of the proven traditional way of dental clinics in order to obtain better outcomes. This presentation will explore types of approaches that can be made by combining the traditional techniques and the CAD/CAM from the aesthetic viewpoint. In addition, it is hoped and eagerly awaited that the CAD/CAM restoration may play a significant role in the field of the 'digital art'.

• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.