• 미술이론과 현장
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• 제14호
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• pp.159-186
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• 2012

Julio Romano decorated the facade of his house in Mantua with a statue of Mercury to give expressions to his ideas on painting. Hereby the painter from Rome could show his home to the world as that of a painter. To be concrete, Mercury was the planet god to which visual artists belonged, and so was basically related to visual arts. In his role to deliver diverse features of art works Mercury could also convey concepts and emotions expressed in a picture to the viewer. The power of a painting to arouse certain emotions or move the mind of the viewer was further connected to the role of Mercury as the guide of the human soul. This function again related the Roman god to the characteristic of a portrait to present absent persons to the viewer. Above the statue of Mercury, a Lucian head of the god is seen, so that they together form the central axis of the facade. This seems to emphasize that the theme of the facade decoration was the powerful persuasive forces of eloquence. The two masks on the left could then refer to sources of eloquence, I.e. various beautiful expressions of a language and its generative process. On the other hand, the masks on the right could represent consequences of eloquence, for instance, prudence, evil effects which come about to imprudent listeners, and other influences on listeners. Finally, it would be useful to remind us of a line from On Architecture by Leon Battista Alberti. According to the humanist architect parts of a building which are seen from the outside, like a facade, should be appropriately designed, since the decoration of a house could play a significant role to enhance the fame and honor of the family and its fatherland. This theory of Alberti could have provided the foundation to the facade decoration of the Casa Pippi which proudly presented the profession of painting to the public in visual form.

• 통상정보연구
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• 제12권4호
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• pp.67-109
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• 2010

The theory of creative class has shown that the creative people are the key factor of success in regional economic growth. The creative people strengthen the economic competitiveness which is crucial to attract, cultivate and mobilize the resources of that region. In order to examine the theory of creative class for regional economic growth and firm productivity in Korea, this study uses the panel data of 492 Korean firms of the industrial complex producing electic and electronic manufactured goods. They are grouped into 10 industrial complexes among 16 metropolitan areas. Our findings demonstrate that creative class and 3Ts are related to the ratio of creative population density and the regional economic growth. Specifically the creative core class is of more significance to the regional economic growth than the creative professional class or the creative artist class. In our findings the panel analysis of random effects model shows that the talent index of 3Ts as well as the regional climates arc related to the individual firm's total factor productivity. This also reflects a conglomeration of the other regional climates statistically. On the other hand, the research and development expenditure of individual firms shows positive influence for each second consecutive year for the total factor productivity. Sales volume also contributes to the total factor productivity. In conclusion, we recommend that it is important to upgrade the level of creative climates by attracting the creative minds and R&D investment of the enterprises for regional economic growth and firm's total factor productivity.

• 한국멀티미디어학회논문지
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• 제11권9호
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• pp.1245-1257
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• 2008

이 연구에서는 기존의 클레이 애니메이션 제작 공정이 가지는 문제점을 개선하기 위해 3D 컴퓨터그래픽을 도입한 새로운 제작 공정을 제안한다. 그 핵심은 기존 공정을 바탕으로 하되 대단히 노동집약적인 캐릭터 제작 과정을, 3D 컴퓨터그래픽에 의한 디지털 캐릭터로 대체하는 것이다. 클레이 애니메이션에 등장하는 캐릭터를 3D 컴퓨터그래픽으로 구현하기 위해 클레이 캐릭터와 동일한 색상과 종류의 유성찰흙을 사용하여 폴리곤 모델링 캐릭터의 UVW 좌표 값에 맞춘 디퓨즈 맵과 디스플레이스먼트 맵을 제작하였다. 또한 파노라마 HDRI 자동 촬영 시스템을 개발하여 미니어처 세트 촬영 환경의 조명 정보를 초고해상도의 파노라마 HDRI 형식으로 제작, 이를 디지털 라이팅 소스로 사용하였다. 이 과정을 통해 대단히 사실적인 결과물을 얻음과 동시에 숙달된 작업자의 노하우에만 의존하던 스톱모션 제작 공정을 공학적 접근에 의한 자동화된 방식으로 개선할 수 있었다.

• 복식
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• 제53권6호
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• pp.161-173
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• 2003

The purpose of this paper is to classify fashion and trend, and examine how his fashionable philosophy reflects design. What affects his fashion philosophy is Western culture and Paris Revolution. Taking this opportunity, he outgrew the concept of haute couture and established specific fashion philosophy. His fashion philosophy is classified under consideration for women, respect for free emotions, recognition of tradition, and an active intercourse with many people. The characteristics of design through his philosophy are as following: 1. He wanted to release women from clothing restrained the body and make comfortable clothing which everyone can wear. This implies the consideration for women. It is the characteristics of his design to the harmony of functionality, simplicity, decoration and popularity. 2. He respected the free emotions and induced people to wear each parts of clothing which is dismantled freely within the limits coincided with clothing teleology-'wear', It implies autonomy. He also unfolded experimental design: gives the regular space between the clothing and the body and then distorts the body or maximizes modeling. It implies the beauty of space. 3. He elicited the modern design through recognition of tradition. It implies contemporaneousness. 4, As he thought that all of the concepts is based on human, he derived inspiration firm an active intercourse with many people, He established a new style through an active intercourse with artists because if he works alone, he would rise above the popular trend, It comes to the gest artist serieE and implies popularity, The characteristics of design in his fashion philosophy is classified into experimental design and practical design. But the important factor of his fashion philosophy is popularity so he would like to make popular clothing. He designs clothing which fit the public. It results from his firm fashion philosophy that his clothing is practical and decorative and he establishes his works meeting needs of modern. It is the reason that his clothing has perpetuity.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 복식
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• 제33권
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• pp.5-25
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• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.

• 복식
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• 제65권4호
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• pp.76-90
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• 2015

Based on a concept of Nietzschean nihilism, this study aimed at interpreting the nihilism in arts and its expressions, also analyzing the modern fashion collection from the same angle. The research was centered on arts after 1980, when post-modern formal destruction expanded in earnest and on the fashion collection after the 20th century, easily accessible to data. Particularly, it set 1994 nihilism collection by Alexander McQueen, a representative nihilist fashion designer as a starting point. Nietzsche mentioned that true arts may be achieved when Apollonian characteristics including a bodily sensory system and an idealization process and Dionysian characteristics including every human feeling are integrated. Besides, he emphasized the importance of an artist being represented as an image of ${\ddot{U}}bermensch$. The ${\ddot{U}}bermensch$ image, reflected in arts and artistic nihilism, represents themes of violence/death, realistic/unrealistic expressions, human body/inhuman aversion materials and the transmutation of a form. Fashion collection expressions, owing to the special characteristic of the show form unlike other arts, were segmented as a realistic ${\ddot{U}}bermensch$ image using a model in a theme, expression, material and form. The theme of violence/death was divided into the death of human and a society. Human life/death was expressed as destruction of human weakness and self-identity, sexual objectification and violence, and social death as destruction and conflict of a class, nation, culture and nature. As for the expression, it was divided into the realistic expression of the primitive/natural and directing of an unrealistic atmosphere using a show.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2013년도 춘계학술대회
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• pp.975-977
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• 2013

아두이노는 오픈 소스 기반 전자 프로토타이핑 플랫폼으로서, 예술가, 디자이너, 취미 활동가 등 인터랙티브 객체 또는 환경 구축에 관심이 있는 모든 이들을 위해 제작되었다. 아두이노의 강점은 하드웨어에 대한 깊은 지식이 없어도 손쉽게 하드웨어 어플리케이션을 제작할 수 있다. 아두이노의 구성은 AVR 마이크로컨트롤러 ATmega 168을 사용하며 아두이노를 동작시키기 위한 소프트웨어로는 아두이노 프로그램, MATLAB, Processing을 주로 사용하고 있다. 아두이노는 오픈 소스 기반이며 하드웨어를 직접 제작할 수 있거나 실드를 이용하여 추가적으로 아두이노를 결합할 수도 있다. Processing은 오픈 소스로 공개되어 있으며 2D, 3D, PDF 출력을 사용할 수 있으며 그래픽 처리 부분은 P3D와 OpenGL을 사용한다. 또한 독립 응용프로그램을 실행해서 확인할 수 있다. 아두이노의 결합을 통해 사운드, 비디오, 컴퓨터 비전 등 수 많은 라이브러리 지원을 확장할 수 있으며 안드로이드폰과 아이폰 프로그래밍이 가능한 프로그램이다. 본 논문에서는 소프트웨어 부분은 Processing을 사용하였고 하드웨어 부분은 아두이노 MegaADK 보드를 사용하였으며 이 소프트웨어와 하드웨어를 이용하여 간단한 2차원 게임을 제작한 후 전체적인 아두이노와 Processing의 그래픽 처리 성능을 확인하고 검증하였다.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2013년도 춘계학술대회
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• pp.336-339
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• 2013

아두이노는 오픈 소스 기반 전자 프로토타이핑 플랫폼으로서, 예술가, 디자이너, 취미 활동가 등 인터랙티브 객체 또는 환경 구축에 관심이 있는 모든 이들을 위해 제작되었다. 아두이노의 강점은 하드웨어에 대한 깊은 지식이 없어도 손쉽게 하드웨어 어플리케이션을 제작할 수 있다. 아두이노의 구성은 AVR 마이크로컨트롤러 ATmega 168을 사용하며 아두이노를 동작시키기 위한 소프트웨어로는 아두이노 프로그램, MATLAB, Processing을 주로 사용하고 있다. 아두이노는 오픈 소스 기반이며 하드웨어를 직접 제작할 수 있거나 실드를 이용하여 추가적으로 아두이노를 결합할 수도 있다. 안드로이드 ADK는 오픈 소스로 공개되어 있으며 안드로이드 스마트폰의 애플리케이션을 제작할 때 사용한다. 그런데 이 안드로이드 ADK에 아두이노 Manifast를 추가하면 서로 호환하여 사용할 수 있다. 아두이노 프로그램을 이용하여 아두이노 브레드보드에 하드웨어를 설계 후 버튼 클릭을 제작하여 서로 연동한 것이다. 본 논문에서는 소프트웨어 부분은 아두이노 프로그램과 안드로이드 ADK를 사용하였고 하드웨어 부분은 아두이노 MegaADK 보드를 사용하였으며 이 소프트웨어와 하드웨어를 이용하여 하나의 앱세서리를 제작한 후 검증하였다.

• 한국콘텐츠학회논문지
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• 제15권6호
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• pp.73-80
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• 2015

에이젠쉬테인은 1939년에 쓴 "영화의 구조The Structure of the Film"에서 파토스(pathos)를 예술 창작의 기본 원리로 설명한다. 그의 페이소스 또는 파토스는 관객을 엑스타시(ecstasy)로 이끄는 효과로 정의된다. 관객의 감정을 질적으로 변화시키는 것을 목표로 하는 파토스 구성은 에이젠쉬테인의 몽타주와 동일선상의 영화형식이며, 영화 표현의 핵심이다. 이 연구는 에이젠쉬테인이 예술가로서의 지위에 머물지 않고, 관객의 변화를 이끌기 위해 몽타주를 실험하고 그 연장에서 파토스 효과를 구축하고자 했던 논의의 배경을 살펴보았다. 에이젠쉬테인이 설명하는 예술작품에서의 파토스적 의미를 고찰하고, 관객의 감정을 변화시키기 위한 목적의 파토스 구성을 그가 분석한 영화의 사례를 통해 살펴보았다. 위대한 영화감독 가운데 하나인 에이젠쉬테인은 영화예술의 이론화를 추구하면서, 충돌 몽타주, 지적 이미지론, 파토스 구성 등의 원리를 통해 영화의 창작과 이론을 융합하고자 했던 것이다.