• Title/Summary/Keyword: ARTIST

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The Eye and the Gaze in John Hejduk's Architecture (존 헤이덕 건축에서의 시선과 응시)

  • Lee, Jong-Keun
    • Journal of architectural history
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    • v.14 no.3 s.43
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    • pp.7-21
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    • 2005
  • This paper is an attempt to find/make an entrance to John Hejduk's architecture. Based explicitly on both Karl Popper's model of knowledge production called 'conjecture and refutation' and Harold Bloom's theory of poetry called 'revisionism', this paper, in order to produce a new problem, mainly deals with an existing knowledge as an object to refute, that is, Michael Hays' interpretation of Wall House by Jacques Lacan's notion of the gaze, Hejduk's a pivotal architectural finding. The arguments underlying this paper are two: First, Hejduk, just like this paper, follows Popper's model and Bloom's theory in conducting his own architectural research. Secondly, he takes what might be called artist's attitude when absorbing previous knowledge and producing new one. These two arguments are made in the first part and then served as a basic propositions for further arguments. In the process of criticizing the way in which Hays explicates Hejduk's Wall House, this paper reaches two main arguments. First, Lacan's notion of the gaze is not proper specifically for the explication of it. However, it may be useful and even promising when dealing with other works such as Subject/Object and House of the Inhabitant Who Refused to Participate. Secondly, Freud's notion of 'uncanny', arguably Hejduk's strong architectural orientation, may serve much better as a main gate among possibly many ones in trying to open his architecture. It is considered that this might also serve as an important clue to solving mysticism remaining yet untouched in his architecture.

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Performance as a factor in the Contemporary Fashion Show - focus on the Paris and London collections Since the 1990s - (현대 패션쇼에 나타난 퍼포먼스적 요소 - 1990년 이후 파리, 런던 컬렉션을 중심으로 -)

  • 장안화;박민여
    • Journal of the Korean Society of Costume
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    • v.51 no.4
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    • pp.71-80
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    • 2001
  • Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

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A Study on Formative Characteristics of Hair Art Using the Copper Wire (동선을 이용한 헤어아트 조형성 연구)

  • Ann, Mun-Kyung;Kim, Soung-Nam
    • Journal of the Korean Society of Fashion and Beauty
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    • v.4 no.4 s.10
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    • pp.63-74
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    • 2006
  • The purpose of the study was to investigate unique field of formative characteristics using copper wire, the present thesis aims at developing concept of hair art as a creative way, and recognizing the formative characteristics of copper wire as analyze and arrange the concept of hair art, formative, a way of practical application, material aspect, through literature, academic journals, photo data, and researched about prior piece, for example, architecture and costume with hair art, and then pieces of hair art were made. Influenced by the theory, applied the social phenomenon and the formative principles, produced the seven pieces which includes flying, composure, yahoo, harmony, balance, way, spring etc. The results of this research are outlined below. Firstly, It showed that the copper wire can express the mysterious and beautiful formative world, and it could know the possibility of design. Secondly, formative activity using copper wire can differ according to approach and interpretation, and it can be a works with aesthetic value. Thirdly, hair could be express the art of the three-dimensional forms which constitute the mixture of line, surface and space. Fourthly, the handicraft including beading, pleat, piping, rolling that used for works are proper to express the unique formative and the rich colors, and it can also express the transparency. So it showed that copper wire is a proper materials. So, hair art has enlarged the fields with development of technique, and changed to recognition of the hair art, and opened up a new field. Hair art will be positive fields to maximize the possibility, and not only the beauty artist but also the public will be communicate each other.

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Nam June Paik and His Self-contradictions (시대적 변화에서 나타난 백남준과 그의 모순)

  • Jeong, So-Youn;Lee, Won-Hyung
    • The Journal of the Korea Contents Association
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    • v.11 no.7
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    • pp.153-167
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    • 2011
  • This paper critically examines the evolution of Nam June Paik's self-contradictory art philosophy. While the existing literature tends to slight it, Paik's works of arts remain fraught with contradictions: Paik has proved prima facie avant-garde an artist; however, as the scale and form of his works have developed, the prophetic, path-breaking philosophical underpinnings of his arts evolved to become more conformist. The present paper aims to shed light on the understudied and underappreciated side of Paik's accomplishments in order to come to a fuller understanding and appreciation of his arts and his legacy.

On the Application of the Islamic Patterns to the Textile Design (이슬람 예술에 표현된 패턴 특징과 텍스타일디자인에의 활용)

  • 김희선
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.1
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    • pp.13-24
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    • 2004
  • This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

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The Effects of Storytelling-Centered Arts Educational Activities Based on the Famous Painting Appreciation on Young Children's Appreciation Ability of Pictures and Creativity (명화 감상에 기초한 스토리텔링 중심 예술교육활동이 유아의 그림감상능력과 창의성에 미치는 영향)

  • Kim, Eunah;Byon, Kil Hee;Shim, Seong Kyung
    • Korean Journal of Human Ecology
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    • v.23 no.5
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    • pp.807-823
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    • 2014
  • The purpose of this study is to verify the effects of storytelling-centered arts educational activities based on the famous painting appreciation on young children's appreciation ability of pictures and creativity. The study was conducted with a total of 50 5-year-old young children in two classes of B Day Care Center in the city of J, Jeollabukdo. The children were randomly divided into an experimental group(25) and a control group(25). The storytelling-centered arts educational activities based on the famous painting appreciation was conducted for the experimental group for 12 weeks from April 29, 2013 to July 19, 2013. The activities were composed of 3 steps of 'appreciation-expression-exhibition & assessment' on the basis of 2-week basic units. The appreciation activities were composed basing upon the types of the famous painting appreciation and storytelling, and expression and exhibition & assessment activities were composed of 4 areas of arts(music/movement/language/art). The results of the study are as follows. First, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's painting appreciation abilities in all sub-areas(observation and description/artist's intention of subject expression/mood of a work/material and technique/artistic factors/attitude to the work). Second, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's creativities in all sub-areas(originality/fluency/flexibility/imagination).

Activation of the Korean Craft Industry (공예산업의 활성화 -중부권 공예산업 중심으로-)

  • Kim, Sung-Min
    • The Journal of the Korea Contents Association
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    • v.11 no.4
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    • pp.177-185
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    • 2011
  • Craft industry in Iran in the past to preserve the technology and production methods, or a newly developed in modern technology, techniques, and material that are intended to use in the decorative, practical characteristics, and the general public are using living water district, ornaments, symbols, products, and so on are collectively, craft industry-specific regional environmental, air velocity, ruins, etc. based on the characteristics of the region's traditional or artistic nature to produce products with the industry, the craft inherent in cultural element out of the help of stock, production, distribution and consumption of a series of process, namely the commercialization of the craft. This future-oriented State images for a unique sentiment based on the tradition of craft culture prize of Korea national image to create a decisive role in the would do. Therefore, in this study, consumers of the craft cultural products awareness and marketability to domestic craft industry status and enhance the use of the show. In addition, based on craft culture industry's efficiency and the issue is what the research and improvement.

A Study on the Aesthetic Characteristics of Contemporary Fashion that Uses Artificial Light (인공적인 빛을 활용한 현대 패션의 미적 특성 연구)

  • Jung, Hyun;Geum, Key-Sook
    • Journal of the Korean Society of Costume
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    • v.58 no.4
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    • pp.113-127
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    • 2008
  • Artificial lights have effected the changes of art and fashion concepts as well as human life since the invention of electric light bulb in late 19th century. Artist and designer have had more interested in these artificial lights as the development of digital technology and the change of millennium and they have tried to apply the lights into their works. The purpose of this study is to analyze the aesthetic characteristics of contemporary fashion design using artificial light as a medium. Artificial light for fashion design means the light using luminescent material like phosphorescent and fluorescent materials or in combination with electroluminescent digital technology or the light that can be perceived as images when light projects from media using a light projector or other digital equipment. Fashion design using this light type can change colors or form temporarily and it can playa role as a gadget for hm or as equipment to provide information much as a computer monitor does. And designer can create virtual patterns on the surface of clothes, or virtual fashion like a 3-dimensional holography in empty space. In these fashion designs, the virtual image of light is substituted for physical formative elements in fashion, and the viewer can experience an ambiguity between reality and virtuality. The results of the study were as follow; The formative characteristics of those fashion designs were identified as visibility, indeterminacy, integration and virtuality. And they reflected the internal meanings; the persue of protection and safety, the search for experiment and innovation, the will for interaction and communication and the desire for the deviation and fun.

A Study on the Late 19th century Children's Costumes and Games of Genre Paintings by Jungeun Kim (19세기말 풍속화가 기산 김준근이 그린 삽화 속 어린이 놀이문화와 복식에 관한 연구)

  • Choi, Eunjoo
    • Fashion & Textile Research Journal
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    • v.18 no.3
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    • pp.289-300
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    • 2016
  • This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

Photogrammetric Analysis of Attractiveness in Indian Faces

  • Duggal, Shveta;Kapoor, DN;Verma, Santosh;Sagar, Mahesh;Lee, Yung-Seop;Moon, Hyoungjin;Rhee, Seung Chul
    • Archives of Plastic Surgery
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    • v.43 no.2
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    • pp.160-171
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    • 2016
  • Background The objective of this study was to assess the attractive facial features of the Indian population. We tried to evaluate subjective ratings of facial attractiveness and identify which facial aesthetic subunits were important for facial attractiveness. Methods A cross-sectional study was conducted of 150 samples (referred to as candidates). Frontal photographs were analyzed. An orthodontist, a prosthodontist, an oral surgeon, a dentist, an artist, a photographer and two laymen (estimators) subjectively evaluated candidates' faces using visual analog scale (VAS) scores. As an objective method for facial analysis, we used balanced angular proportional analysis (BAPA). Using SAS 10.1 (SAS Institute Inc.), the Turkey's studentized range test and Pearson correlation analysis were performed to detect between-group differences in VAS scores (Experiment 1), to identify correlations between VAS scores and BAPA scores (Experiment 2), and to analyze the characteristic features of facial attractiveness and gender differences (Experiment 3); the significance level was set at P=0.05. Results Experiment 1 revealed some differences in VAS scores according to professional characteristics. In Experiment 2, BAPA scores were found to behave similarly to subjective ratings of facial beauty, but showed a relatively weak correlation coefficient with the VAS scores. Experiment 3 found that the decisive factors for facial attractiveness were different for men and women. Composite images of attractive Indian male and female faces were constructed. Conclusions Our photogrammetric study, statistical analysis, and average composite faces of an Indian population provide valuable information about subjective perceptions of facial beauty and attractive facial structures in the Indian population.