• The Korean Journal of Archival Studies
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• no.80
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.437-444
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• 2023

With the development of modern society, society provides people with a quick and convenient life, but it also causes anxiety, depression, other psychological and mental illnesses, so art can also be used as a way and path to treating psychological disorders. Art therapy is a creative method of delivery used in therapy, resulting from the fusion of art and psychotherapy. Art is a service and public art activity, mainly aimed at solving human psychological problems, providing nonverbal expression and communication opportunities, and treating psychological and psychological entanglement by improving emotion, stability, and indirectly inappropriate behavior through multi-disciplinary convergence. Art therapy, as an independent discipline, began in Europe in the 3rd and 40th centuries and was mainly influenced by two psychologists, Sigmund Freud and Carl (Gustav Jung). We Starting with the theoretical foundation of psychoanalysis, this paper explores the effectiveness of modern people's psychotherapy, analyzes the similarities between the two ideas, explores the application of art therapy and the development of science and technology, and provides the public with various ways of art therapy and the validity of science and technology.

• International Journal of Advanced Culture Technology
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• v.10 no.1
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• pp.102-107
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• 2022

The emergence of independent cinema in the United States in the 1960s was the earliest sign of postmodernism in the country, which was often referred to as "underground cinema". The works, in a counter-cultural stance, overturned the thought of depth of traditional art cinema, not exploring the meaningful relationship between form and content in terms of artistic technique, but creating an aesthetic that echoed the "Pop Art" of the time by collaging established means of expression with traditional and fashionable ones in a consumerist manner. In this paper, American independent cinema was examined, firstly by analyzing the local and external factors that contributed to its rise. Secondly, two genres of independent cinema core paradigm, "underground cinema" and "pop cinema" were focused on, as a way of demonstrating the attention and influence that independent cinema has gained. Finally, we found that independent cinemas are also seeking for alternative exploration and diverse expressions in the context of the times.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.20 no.4
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• pp.369-375
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• 2011

Design is important in the IT, digital appliance, and auto industries. Aesthetic and art images are being applied for better quality of the products. Most image patterns are complex and much lead-time is required to implement them to the product design process. A precise reverse engineering method generating 2.5D engraving models from 2D artistic images is proposed through the image processing, NURBS interpolation and 2.5D reconstruction methods. To generate 2.5D TechArt models from the art images, boundary points of the images are extracted by using the adaptive median filter and the novel MBF (modified boundary follower) algorithm. Accurate NURBS interpolation of the points generates TechArt CAD models. Performance of the developed system has been confirmed through the quick turnaround 2.5D engraving simulation linked with the commercial CAD/CAM system.

• Journal of Mechanical Science and Technology
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• v.18 no.12
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• pp.2137-2147
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• 2004

The recycling cell formation problem means that disposal products are classified into recycling part families using group technology in their end-of-life phase. Disposal products have the uncertainties of product status by usage influences during product use phase, and recycling cells are formed design, process and usage attributes. In order to deal with the uncertainties, fuzzy set theory and fuzzy logic-based neural network model are applied to recycling cell formation problem for disposal products. Fuzzy C-mean algorithm and a heuristic approach based on fuzzy ART neural network is suggested. Especially, the modified Fuzzy ART neural network is shown that it has a good clustering results and gives an extension for systematically generating alternative solutions in the recycling cell formation problem. Disposal refrigerators are shown as examples.

• Journal of the Korea Furniture Society
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• v.19 no.6
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• pp.439-446
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• 2008

High Tech Design manner is a design concept that had been constantly discussed in constitution process of the West art history and modem ideology and had been experimented in industry, having started from futurism and structuralism in the early 20th century through Kinetic Art & Technology Art and up to now. High Tech Design had a great influence also on Post Modernism and more important is that this manner of design will be existing continually in the future too. From the modem times when machine civilization started, the artist and designers expressed a utopia will showing the future world with help of High Tech Design and modem people are realizing technology images as a utopia, in the space and material presented by this high tech design. And this utopia imply the images of dynamic power, speed making a voyage in universe, dream of future, hope, mass production, earth's environment, wealth etc. High Tech furniture was lightly designed by using thin steel wire, structure stressing the metallic characteristic and tempered glass, and it was used for presenting a convenient interior space visually, and with that it can make a unified sense in High Tech interior space, and a contrary effect compared with minimal space. High Tech Design equipped with glass and metal materials looking inappropriate for our interior space due to their sharp and cold image has been regularly used as living furniture, not only decoration function, and then there must be reasons for that. This study intends to research how High Tech Design has been changed and developed in the design history & West art history from the early 20th century, and to present it's value of development as data orienting, namely a direction for the industry of the next-generation and furniture design.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• Journal of the Korea Furniture Society
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• v.25 no.3
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• pp.188-197
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• 2014

This study aimed to develop organic design and propose references on an origin and developing factors of the organic design as looking into previous researches on furniture design. Expressive features with curves observed in the furniture design have been interpreted as organic meanings, and the study also approached grounds for the organic design elements while talking about developments of new materials and digital technology. In addition, the study presented a possibility explaining that these organic design elements might have been derived and developed from Art Nouveau. State-of-the art technology of the digital era in the 21st century has been built upon more creative concepts, and as this technology gets combined with the digital technology, it is, now, changing but also improving both morphological aspects and design methodologies. In the midst of this change, when it comes to factors to develop the organic design, creation of various new materials and state-of-the art digital technology are considered to be immediate factors to changes in the design. As morphological thinking using digital media develops, geometric thinking and such form are realized which eventually would lead us to furniture design of a new concept.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.137-157
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• 2008

The purpose of this study is to acquire clear understanding of classic Pop art, and furthermore, how it evolved within the art and fashion industries in relations until present days. Throughout the studies, it was inevitable to find that there needs to be additional traits to Richard Hamilton's famous quote regarding the definition; "Pop Art is: Popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business." Distinctively, though Pop art is continually evolving, sustaining, costly, authentic, and, adaptable for all ages. Pop art's varying influence continued, and Neo-pop, Japanese Neo-pop, les Nouveaux pop, Post-pop art appeared with progression. These transformed Pop arts share similar contexts with the Classic Pop art; and yet, it is inevitably more narrative, and has diversity in sources and expressions. If the Classic Pop art's been mostly flourished in the United States, new Pop arts are well established in various countries with individualities. Indeed, Pop art influenced the fashion world with attempted young and sexy looks with pastiche characters. In the 1960's, "Mods", "Teddy Boys", and "Hippie" styles became popular, and fashion trend started trickling up. Various usages of fabrics and uncommon materials were popularized due to the advanced technology and Pop art. Recently: 1) classic Pop art's been directly applied to fashion, 2) it's been reflected in more various motives and techniques 3) Neo-pop artists and designers wire involved with collaborative efforts. Undoubtedly, Pop art still remains popular for those who seek for fun; and so-called "Kidult" and "Peter-Pan syndrome" are closely correlated to the fundamentals of Pop art.

• Architectural research
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• v.8 no.2
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• pp.17-26
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• 2006

This paper attempts to identify the term "tectonics" comprehensively by collecting and categorizing existing definitions of tectonics within the architectural area rather than to stress the concept of tectonics of each specific theorist. Although no consensus of opinion on the concept of tectonics exists, architectural tectonics was closely related to the following terms in three categories: 1. $techn\acute{e}$, technique, and technology; 2. construction and structure; and 3. stereotomics. Based on its etymology, system, and material construct, the notion of tectonics common in these three categories signifies "the art of framing construction," in which linear elements are connected with joints and clad or infilled with lightweight material. Thus, the art of framing construction, as a common concept of tectonics, reveals the following characteristics: First, tectonics is based on framing construction in contrast to piling-up construction as the etymology of tectonics signifies the art of carpentry. Then, the term tectonics, dealing as it does with a higher level of construction rather than the mechanical level of structure, incorporates the poetic aspect of techne as well as the rational aspect of technology. Third, Owing to the organic, double system of tectonic frame and incrusting or infilling materials, the tectonic body becomes both the ornament and the structure simultaneously. As the art of framing construction is based on material construction rather than structural or ornamental form, this paper proposes that one can view tectonics as a term that conveys the meaning of the actual material effect on space.