• International Journal of Costume and Fashion
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• v.4
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• pp.131-144
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• 2004

“The ultimate aim of the anthropology of art ［fashion］ must be the dissolution of art ［fashion］.” Alfred Gell, Art and Agency (1998) This study aims to rethink fashion by examining issues that have emerged out of recent writings in the anthropology of art. Since their inaugural coinciding, sound discussions have emerged between the anthropology of art and the art world, addressing such subjects as： ‘artworks and artefacts’, ‘Western and non- Western discourse’, and ‘art and agency’ (Gell 1992； 1993； 1996； 1998). This study is comprised of a series of discussions, the subjects of which follow： the relationship between fashion and art； art and the anthropology of art； and in parallel with this, examining the possibility for an anthropology of fashion. This study employs a qualitative approach based on the discussion of relevant literatures dealing with fashion, art and art theory for its methodology, followed by a brief examination of a case of the Vivienne Westwood exhibition at the Victoria and Albert Museum in terms of an empirical account.

• Journal of Family Resource Management and Policy Review
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• v.10 no.1
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• pp.83-105
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• 2006

The purposes of this study were to classify types of consumption values and to examine 5 types of art appreciation of university students in Seoul. Five types of art appreciation included fine art exhibition(including photographs, architects, calligraphy works), classical and opera performance, traditional Korean music performance, drama and musical performance, dance performance. The sample for this study consisted of 422 university students of five universities in Seoul. The data were collected using the structured questionnaires. The statistical methods used for the analysis were descriptive statistics, chi-square, factor analysis, and cluster analysis. The major findings are as follows. 1. The result of factors for consumption values of students emerged four factors. These were called as 'materialism', 'honor centered', 'family centered', 'hedonism' value. 2. The cluster analysis was conducted based on these four factors. The result showed 3 groups of consumption value which were called as 'material' honor value group', 'family value group', 'hedonic value group'. 3. The consumption value of university students did not significantly differ according to their demographic variables. 4. The behavior of art appreciation of university students significantly differed by their demographic characteristics and consumption value. The material' honor valued group showed the least chances to make decisions on art appreciation for one's own, which reflected that this group appreciate art to satisfy their honors rather than to enjoy art itself. They also showed the most chances to consider the renownedness of the art work or artists among three groups. And they showed the least chances to pay for the tickets for art appreciation, all of those meant that they appreciate arts unvoluntarily in situational condition. The family valued group showed the most chances to pay for the tickets when they appreciate arts. And therefore they were most susceptible for the prices. The hedonic valued group showed the most interests in art. They decided to appreciate art for their own, and they considered the contents and the highness in the level of the art the most when they appreciate art. And they show the most intention of participation in drama/musical performances, which reflect their interests in hedonic values. Based on these results of this study concluded that the consumption values of university students affected their behavior of art appreciation. Thus, university students' behavior on art appreciation can be effectively developed by education according to their consumption values.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.17 no.11
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• pp.2486-2491
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• 2013

There are invisible defects by naked eyes in ceramic material images such as internal stomata, cracks and foreign substances. In this paper we propose a method to detect and extract such defects from ceramic pipe weld zone by applying ART2 learning. In pre-processing, we apply Ends-in Search Stretching to enhance the intensity and then perform fuzzy binarization with triangle type membership function followed by enhanced ART2 that interacts with random input patterns to extract such invisible defects. The experiment verifies that this proposed method is sufficiently effective.

• Korean Journal of Child Education & Care
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• v.19 no.3
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• pp.13-30
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• 2019

Objective: The purpose of this study is to analyze the annual operational status in the filed of art shown in daily teaching plan for 2-year old, provide the analysis results helping the reflective cognition and to provide the basic data for relevant researches. Methods: This study analyzed the 1 year portion of daily teaching plan of 6 edu care teachers, provided the analysis results to the teacher in charge and promote the reflective cognition. Results: First, the operational status of the art area shown in the daily teaching plan for 2-year old was analyzed by dividing it into arts experience, expression type, art supplies, basic planar material, planar painting material, three-dimensional expression material. Second, The reflective cognition in the teacher on the analysis results of operational status in the field of art for 2-year old was shown as limits such as the infant art missing art appreciation, concentration on art supplies, ambiguity of infant art and the uniformed art activity. Conclusion/Implications: The implications of this study are the facts that it identified the operational concentration in the field of art for 2-year old, it utilized the analysis data of the teacher's daily teaching plan as reflective cognition tell, it showed the diverse teacher's cognitions on the infant-oriented art education not the uniformed art activity application.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.13-20
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• 2004

This study aims to rethink fashion or, namely, the anthropology of fashion through examining issues generated by the relationship between art and the anthropology of art. Since their crossing paths, sound discussions have emerged between the anthropology of art and the art world, such as subjects about 'artworks and artefacts', 'Western and non-Western discourse' and 'art and agency'(Gell 1992; 1993; 1996; 1998).(omitted)

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• Journal of Korean Library and Information Science Society
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• v.28
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• pp.219-262
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• 1998

For many years art libraries have been concerned about the problem resulting from the addition of exhibition catalogs to general art collection. Those who work or research in the art field agree that exhibition catalogs are great value, and in many cases, the essays and documentary material contained in these catalogs may be the only source of information on particular artists. This paper contains two purposes. One is to settle the exhibition catalog as a specific form of publication in the library. In theoretical aspect, this material is handled in definition, form, historical development and the position and specification. Another is to manage exhibition catalog in the library. In practical aspect, this material is handled in aquisition, classification, cataloging and use.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.169-172
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• 2008

Nationally large scale of festival is common in these days, the space for a space be party-able such as an event space or an performance space is more necessary. Accordingly applied the balloon art which utilizes a balloon material, to interior and exterior space design can maximize space design for the nonce and renovate space with flexible materials which is the balloon art. This research provides the balloon art is able to be a new research field in interior and exterior design study with three types of way to apply the balloon art to interior and exterior design. First type is an applied interior design with the balloon art, second type is an applied party space design with the balloon art, and third type is practical examples of applied interior design with mixing materials of the balloon and another materials.

• Journal of the Korean Society of Costume
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• v.33
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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.