• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Journal of Science of Art and Design
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• v.6
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• pp.249-266
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• 2004

Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.194-205
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• 2012

Historically, garments have been spontaneously made with human instinct in order to warm and decorate the body using textiles that have been made and used by various peoples in different cultures. Contemporary garments have been used as a means of warming as well as express individual personality and a desire to pursue beauty. They have a unique formativeness and a symbolic nature according to cultural phenomena that reflect a cultural outcome that expresses contemporary thinking and ideology as well as their aesthetic consciousness. This study globally promotes Chinese opera mask culture and proposes the possibility of creative thinking through the introduction of Chinese opera mask elements into contemporary fashion, expressing them as patchworks. In order to endow artistic value (required in contemporary fashion) this study creates works by analyzing and applying a formative sense seen in patchwork techniques and the characteristics of Chinese opera masks; in addition, it sought the possibility of new expressions in garment designs. The results obtained from the research involve the following. First, the introduction of the traditional patchwork technique to contemporary garments may be a dynamic theme of garment expression and exceed stereotypical ideas that enable the creation of designs attuned to the globalization era. Second, it was possible to pursue independent formativeness which is in harmony with a modern sense through the restructuring of the harmony of colors and practical characteristics found in patchworks. Third, it was possible to demonstrate their artistry and unique effect in the expression of contemporary garments by the expression of the analyzed results of characteristic patterns of Chinese opera masks with a patchwork technique in creating works. Results show that it is necessary to conduct research into a patchwork technique that applies diverse materials as a new method to develop contemporary garment design also as a creative design. In addition, if the analyzed results of the characteristic patterns of Chinese opera masks can be expressed with a patchwork technique, they may be able to exhibit a genuine effect along with the artistry of expression in contemporary garments; thereby, relevant follow-up research should be further continued.

• The Korean Journal of Food And Nutrition
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• v.25 no.4
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• pp.1061-1067
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• 2012

Rice cake is the most historical food which has been developed from settlement of agriculture and typical traditional food which has manufacture and food historical meaning. Because, the process of rice flour, raw ingredient of rice cake, tells remarkable food processing technology of our nation, and is original form of processed food that we has been taken before agricultural life begun. In this study, contents analysis method is used. Ingredients of rice cakes appeared in "Gyuhapchongseo" glutinous rice 12 times (42.8%), nonglutinous rice 10 times (35.7%), and the others 6 times (21.4%) used as the main ingredients of rice cake. the rice cake separated into 15 types (53.5%) of steamed rice cake, 2 types (7.1%) of pounded rice cake, 3 types (10.7%) of boiled rice cake, 7 types (25%) of sauteed rice cake, and 1 types (3.5%) of the others. it become data for knowing social and dietary culture of the time. And it is for presenting fundamental material of possibility of modern rice cake.

• The KIPS Transactions:PartB
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• v.10B no.4
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• pp.443-450
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• 2003

In this paper, we proposed the novel hierarchical algorithm for the recognition of English calling cards that processes multiresolution images of calling cards hierarchically to extract individual characters and recognizes the extracted characters by using the enhanced neural network method. The hierarchical recognition algorithm generates multiresolution images of calling cards, and each processing step in the algorithm selects and processes the image with suitable resolution for lower processing overhead and improved output. That is, first, the image of 1/3 times resolution, to which the horizontal smearing method is applied, is used to extract the areas including only characters from the calling card image, and next, by applying the vertical smearing and the contour tracking masking, the image of a half time resolution is used to extract individual characters from the character string areas. Lastly, the original image is used in the recognition step, because the image includes the morphological information of characters accurately. And for the recognition of characters with diverse font types and various sizes, the enhanced RBF network that improves the middle layer based on the ART1 was proposed and applied. The results of experiments on a large number of calling card images showed that the proposed algorithm is greatly improved in the performance of character extraction and recognition compared with the traditional recognition algorithms.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Archives of design research
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• v.20 no.1 s.69
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• pp.287-296
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• 2007

Since the beginning of the 20th century, the art has developed its artistic qualities in exercising an influence on the creative elements of the fashion. In this sense, the fashion is one of many methods of which given time's arts, their compositions, and elements can be expressed, recognized, and experienced. In this study, artworks of Roy Lichtenstein, who took the leading, active role of pop artist have been studied. The purpose of this study is to present practical application of the art and aesthetic and artistic application of clothing by studying and applying the factors of Roy's paintings. The conclusion through actual designing is as follows: First, Lichtenstein interested with the characteristic of print media. He combined the image of commercial technique with the traditional painting by using Ben-day dots. Second, he reduces his form and color to the simplest possible elements. Third, by applying Lichtenstein's works to fashion design, we can make creative and aesthetic fashion works. Fourth, his Ben-day dots and stripe was applied to variant dots and stripe pattern in the fashion design. Roy Lichtenstein is expected to continually affect modern fashion and also fashion of the future. Furthermore Lichtenstein's works are expected to be further studied under various methods and ways, and those aesthetic characteristics would be developed and expressed more in fashion design under various perspectives.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.89-99
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• 2020

In this study, we tried to produce moving-image works through sentiment analysis of music. First, Google natural language API was used for the sentiment analysis of lyrics, then the result was applied to the image visualization rules. In prior engineering researches, text-based sentiment analysis has been conducted to understand users' emotions and attitudes by analyzing users' comments and reviews in social media. In this study, the data was used as a material for the creation of artworks so that it could be used for aesthetic expressions. From the machine's point of view, emotions are substituted with numbers, so there is a limit to normalization and standardization. Therefore, we tried to overcome these limitations by linking the results of sentiment analysis of lyrics data with the rules of formative elements in visual arts. This study aims to transform existing traditional art works such as literature, music, painting, and dance to a new form of arts based on the viewpoint of the machine, while reflecting the current era in which artificial intelligence even attempts to create artworks that are advanced mental products of human beings. In addition, it is expected that it will be expanded to an educational platform that facilitates creative activities, psychological analysis, and communication for people with developmental disabilities who have difficulty expressing emotions.

• Strategy21
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• s.42
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• pp.53-82
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• 2017

Samuel Eliot Morison (1887-1976) was one of the pre-eminent historians of his generation. He was not only a famous historian at that time, but also was promoted to the rank of Admiral in U.S. Navy Reserve. Fifteen volume History of United States Naval Operations in World War II was published between 1947 and 1962, was not only a comprehensive report on the Navy's projection of power over two oceans, but a classic of historical literature that stands as the definitive treatment of it subject. Although he was fifty-five when war come to America in December 1941. Samuel Eliot Morison was determined to play a role. A professor at Harvard at the time, he joined volunteering for duty in the Navy. An experienced sailor, Professor Morison had earlier sailed that same routes taken by Christopher Columbus while researching his biography, Admiral of the Ocean Sea, which appeared in January 1942 th much acclaim and later got a Pulitzer Prize. Thus Morison plunged into the war, crossing the Atlantic aboard a destroyer. He assumed himself as "Parkman on the sea", tried to follow Parkman's historiographic method, not only participatory history but also literary style. And during writing History of United States Naval Operations in World War II, He emphasized two principles, publicity and objectivity. In terms of publicity, he always worried about who read history and why. In his pamphlet, "History as a Literary Art", he asserted it is useless if readers do not read a history which historians wrote. So he thought historians have forgotten that there is an art of writing of history. Therefore, he built his narratives around brightly rendered visuals and used the present tense to describe actions he witnessed firsthand, he wrote of the U.S. combat in very vividly. But strongly driven by publicity, he sometimes lost his balance in writing the naval history. For instance, the naval history became the focus of criticism for its prejudiced comments about the commanders. Also some reviewers asserted he did not secure the objectivity on writing the naval history. Although he sometimes deliberately torpedoed the objectivity of his work for strengthening publicity, by writing an extensive U.S. naval history, he introduced maritime history and naval history to the public widely. Until in early twentieth century, U.S. historians usually had been focusing their effort to the traditional areas, for example politic, economy, and etc. His intensive effort on the operations of U.S. Navy in World War II aroused a public interest in maritime and naval history. In conclusion, through using literary style and realistic narratives, historian Morison wrote a naval history for all the people which could appealed to the public.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.737-742
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• 2007

The concept of 'Picturing' is beyond the 'Illusion' of traditional art in the Digital Media era. It is a 'Suffering' of the 'Re-appearance' that is masquerade the 'Actual' as a 'Digital Apparition.' This study aims to concern the point of view on the above subject; the 'Picturing' through the analysis of communication problems in the digital era. To begin with, need to define the concept of 'Picturing' and how it is expected to have a role through the accessibility of medium use, intervention by body and images. Also, I suggest a new approach to 'Picturing' as a new mutual communication method. Body, Digital media, and Image. These three principles of 'Picturing' create huge benefits to our world/nature whether we want it or not. It seems to become more and more of powerful self-replicating organism. We have to be aware what sort of images are surrounding us and how transmitting it to where in/on our body via newest sophisticated media we use. 'Picturing' is an invasion of ordinary, no longer exists pleasure for body, no longer speaks intension of its next destination. It strongly self-grows and also controls us in the name of Digital media era. However, 'Picturing' is a mode of re-imaging activity and also suggestion of re-appearance practice.