• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.152-168
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• 2007

The aim of this study is to shed light on essentials of Suprematist artists focusing on Malevich and their works in relation to modem design, and to examine their roles in the modem design industry compared to those of modem designers. The study obtains the following result on Suprematist artists and their works in Russian avant-garde in terms of modem design. Firstly, Suprematist artists had a great deal of interest in practical design although it seemed Suprematist were replaced by utilitarianism in avant-garde during the Russian revolution. Secondly, Suprematist artists were the first artists to bring the birth of modem design trends by applying their art in geometric forms to clothing and fabric design as well as ornaments and handicraft. Thirdly, the artists' attempt to work with needle workers made it possible to set achievements in design and modem decorative art exhibitions in various fields of art-life. As for the role of modem designers, Suprematist artists including Malevich have significant meanings as follows: Firstly, Malevich was a creative, future-oriented artistic designer who realized zaum of painting on the stage and created suprematistic mode in a cosmic point of view in order to agree with the environment. Secondly, Suprematist artists knew the importance of works that were produced by craftsmen and worked together with them. Therefore, the designers could maintain fabric decoration in difficult conditions knowing the importance of the high value-added industry. Thirdly, they were artists in real life who embodied the ideas and theories of Suprematist in sample works by recognizing the need of changes in life environment: they planned to set a new visual world in art but did not confine the idea only to painting.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.30-37
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• 2010

Dutch artist, Theo van Doesburg had shown short but strong experimental aesthetics in his works through De Stijl movement. He played a leading role for editing De Stijl magazine and performed various formative works such as painting, sculpture, and architecture. In 1923 he opened the first De Stijl exhibition cooperated with Cornelis van Eesteren. In this architecture exhibition he showed rich formal spirits of counter-construction in his major design works, that is Maison Particuliere and Maison D'artiste among three houses projects. Formal characteristics of counter-construction can be summed up under two categories, time and space. Analytical results are as follows; First, the characteristics of counter-construction related to time category include two types of two mode. One is linear aspect of time based on the viewer's movement. The other aspect is simultaneity caused by synoptical effect. These could be proved by the analysis of arrangement of color planes. Secondly, the spatial aspects of counter-construction are produced through two different ways of formal strategies. Van Doesburg arranged cubes in very irregular pattern. This treatment induces ambiguous void and creates feeling of subject's space. And, through deleting, shifting, and extending he could make dynamic spatial effect by interpenetration between in and out. This fluid space thus introduces movements of one's gaze and circulation. He denied traditional classical values which had ruled the western aesthetical discipline for centuries and believed that mankind can reach the realm of universal equilibrium by contrast and tension created by counter-construction. In this vein Theo van Doesburg was an avant-garde artist of Hegelian thoughts who adopted the dialectical method without following the formal characteristics from ancestors.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.162-170
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• 2008

The promotion of new product is one of most important object for exhibition design. The majority of conventional exhibition technique has been implemented through one-way communication. However, using digital technology, development of new exhibition techniques is necessary for promotion of high-tech products and consideration of the phases of the times. This paper propose the various possibilities of exhibition design model which is using camera sensing and video input/output. Interactivity is efficient method to communicate between viewers and displays. Viewers can be participate actively and exhibition goal will be accomplish through this. Using camera as visual senses, video input/output technique is offered not only introducing new product but also entertaining viewers through various ways of representation. Physical experience and learning process can be expected from the exhibition space and the object. The classification of the artist who are using video input/output technique and exhibition examples are described. The collaboration on a work with the new media artist and the exhibition design will be complement each other. It will be solved the problems of realization and corporation of idea and technology.

• Journal of Astronomy and Space Sciences
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• v.35 no.3
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• pp.143-149
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• 2018

The ionosphere has been monitored by ionosondes for over five decades since the 1960s in Korea. An ionosonde typically produces an ionogram that displays radio echoes in the frequency-range plane. The trace of echoes in the plane can be read either manually or automatically to derive useful ionospheric parameters such as foF2 (peak frequency of the F2 layer) and hmF2 (peak height of the F2 layer). Monitoring of the ionosphere should be routinely performed in a given time cadence, and thus, automatic scaling of an ionogram is generally executed to obtain ionospheric parameters. However, an auto-scaling program can generate undesirable results that significantly misrepresent the ionosphere. In order to verify the degree of misrepresentation by an auto-scaling program, we performed manual scaling of all 35,136 ionograms measured at Jeju ($33.43^{\circ}N$, $126.30^{\circ}E$) throughout 2012. We compared our manually scaled parameters (foF2 and hmF2) with auto-scaled parameters that were obtained via the ARTIST5002 program. We classified five cases in terms of the erroneous scaling performed by the program. The results of the comparison indicate that the average differences with respect to foF2 and hmF2 between the two methods approximately correspond to 0.03 MHz and 4.1 km, respectively with corresponding standard deviations of 0.12 MHz and 9.58 km. Overall, 36 % of the auto-scaled results differ from the manually scaled results by the first decimal number. Therefore, future studies should be aware of the quality of auto-scaled parameters obtained via ARTIST5002. Hence, the results of the study recommend the use of manually scaled parameters (if available) for any serious applications.

• Journal of the Korea Safety Management & Science
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• v.16 no.4
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• pp.237-246
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• 2014

The purpose of this study is to identify the overall occupational safety and health status and the characteristics of the workers engaged in the field of the film and television artists, and to take appropriate measures to prevent industrial accidents, profession and working environment, safety recognition and education, safety activities, accident experience, and job stress survey. Survey using a structured questionnaire is to be used for 302 worker directly interview research. Safety awareness level of himself or herself was "middle level" of 3.1 points. Those of colleagues and the general public were evaluated to be low as 2.8 points and 2.5 points, respectively. During the last 12 months, 4.6% of total workers have received an industrial safety health education for work-related accident or disease. Regarding cases of having experienced work-related accident or having been exposed to work-related disease over the past 1 year, 20.2% of total respondents have experienced accident. 16.2% of total respondents have experienced work-related disease. And the workers are approximately one's own subjective feeling of physical symptoms that have appeared. In addition, the film sector workers in particular occupations men than women have higher job stress. Preventive education for industrial safety is required to be expanded and strengthened. Safety education is urgently required in order to prevent, and to reduce accident. Safety and health guideline is required to be developed and disseminated in order to prevent accident in advance. Finally, the actor and their staff members to reduce the stress, mental health care and education carefully needs to be in parallel. Also, when taking measures to reinforce safe work environment, it needs to be protected.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.353-367
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• 2015

This study analyzed consumers' awareness, preference levels, and effect expectations in relation to fashion art marketing according to the types of such marketing (collaboration between fashion and art in fashion products, called product collaboration; sponsorship for art foundation; artist sponsorship; collaboration for the design of a space/store/display; ad/promotional film collaboration). The study also investigated the influence of consumers' attitudes toward fashion art marketing with respect to purchase intention. The study was implemented through a descriptive survey method. The sample consisted of 342 men and women between the ages of 20 and 45. The data were analyzed by factor analysis, one-way ANOVA, and multiple regression analysis. The results revealed that there are significant differences in consumers' awareness and effect expectations in relation to fashion art marketing according to the types of fashion art marketing activities. While no differences were found in preference levels according to the type of fashion art marketing, all the types of art marketing showed overall high levels of preference. The collaboration between fashion and art in fashion products, which had the highest awareness, also showed the highest expected effect. In all the types of fashion art marketing, consumers' attitudes had a significant influence on purchase intention. In cases of sponsorship for an art foundation, artist sponsorship, collaboration for the design of a space/store/display, and ad/promotional films, consumers' effect expectations had the most significant influence on purchase intention, followed by preference and awareness level. These results could be used to provide appropriate proposals to fashion brands when they plan to set up an art marketing strategy.

• Journal of Gifted/Talented Education
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• v.23 no.4
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• pp.615-632
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• 2013

The purpose of this study was to explore the implicit knowledge of creative person in Korea, China and Japan. To this end, participants of all ages in three countries (Korean 328, Chinese 388, Japanese 394) were required to fill out the survey about creative persons. The major results of this study were as follows: First, Korean and Japanese recognized most the characteristics of creative person as "original" at all ages, Chinese recognized as "intellectual" in most ages. Second, occupations of creative persons were classified into nine categories. Third, in Korea scientist and artist, in China politician, in Japan artist were the occupations of the highest frequency at all ages. These results of this study can be used as a basis for the research of implicit knowledge on creativity in East Asian countries. This study suggests that the implicit knowledge about creative person differs in three countries and cultural characteristics of each country should be considered in the study of creativity.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• FLOWER RESEARCH JOURNAL
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• v.17 no.2
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• pp.137-140
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• 2009

A new spary chrysanthemum(Dendranthema grandiflorum) cultivar 'Noble Wine' was developed from a cross between 'SL03-01' and 'Artist Pink' by selection of seedlings and lines at the Flower Research Institute, Gyeongnam Agricultural Research and Extention Services(ARES) from 2003 to 2007. Its characteristics were investigated three times from 2005 to 2007 under condition of forcing culture in spring and retarding culture in autumn. The natural flowering time of 'Noble Wine' was October 26th, and yearround production was possible by day length treatment. Its capitulum was 5.4 cm in diameter, and had 21.6 ray florets and 28.5 head per stem in autumn. Its ray floret was red-purple with green central zone. 'Noble Wine' was about 45 days in spring, and 'Noble Wine' showed the vase life of 21.3 days in autumn. This cultivar was registered for a commercialization in 2007.

• FLOWER RESEARCH JOURNAL
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• v.18 no.3
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• pp.211-215
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• 2010

A new spray chrysanthemum(Dendranthema grandiflorum) cultivar 'Magic' was developed from a cross combination between 'Artist Pink' and 'SP0347' by selection of seedlings and lines at the Flower Research Institute, Gyeongnam Agricultural Research and Extension Services(ARES) from 2003 to 2007. Its characteristics were investigated three times from 2005 to 2007 under condition of forcing culture in spring and retarding culture in autumn. The natural flowering time of 'Magic' was October 26th, and year-round production was possible by day length treatment. Its capitulum was 6.1 cm in diameter, and had 31.9 ray florets and 11.7 head per stem in autumn. Its ray floret was white-purple with yellow green central zone. Days to flower of 'Magic' was about 43 days in spring, and 'Magic' showed the vase life of 20.6 days in autumn. This cultivar was registered for a commercialization in 2007.