• 디자인학연구
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• 제19권3호
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• pp.105-116
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• 2006

In product manufacturing industries, a recent issue is the green concept. The green concept is a complicated area. If the green concept is for products, its serious issues have to be criticized. Although the importance of the green concept has overflowed, its influences have not been disputed vigorously. So this study is to critic the serious issues of the green concept in aesthetics in product design, manufacturing, and products' prices. The green environment has four representative elements: systems, policies, minds, and technologies, but they are not in the field of design. An element of the green concept, green design is also a sub concept for design, so it should be based on aesthetics. It is green aesthetics. But since green design first appeared, it has never approached by aesthetics because it has mostly had social meanings and expectations. So for green aesthetics, to think about what makes a product, and what can be aesthetic issues among them are important. Products consist of form, structure, material, and technology. Form means different shapes in a structure, but there cannot be any specific directions for a green concept. Structure has two kinds: interior and exterior structure. While interior structure has a technological character, exterior structure is deeply related with aesthetics, but it has also no chance for green concept. Material can be divided as two also: aesthetic and technological. Aesthetics materials mean the colors, opacity, and tactile sense of materials, but they are not aesthetic issues. Technological materials are recycled materials or non-recycled materials. Even if recycled materials are used today, they are close to systems or policies rather than aesthetics. With this result, green aesthetics is a very difficult concept. Second, green products are usually 30% more expensive than general products. But every consumer has his or her own economical conditions, and nobody can coerce consumers into buying expensive green products for green environments. And green products without good quality cannot satisfy consumers. This means that green concept is not accomplished by just manufacturing green products. Third, although a lot of proposals have appeared as green design in exhibitions, most of them are close to craft because they are so hard to be manufactured. Manufacturing is the first consideration for products. These three issues are enough to explain why green concept is complicated in manufacturing products. If they are not solved, the green concept is just a fiction. So if this study proposes a turning point against blind green-oriented atmosphere, it will be meaningful enough.

• 한국식품영양과학회지
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• 제43권6호
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• pp.877-883
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• 2014

본 연구에서는 사과 농축액을 이용하여 일체의 영양원을 첨가하지 않고 알코올 및 초산 발효과정으로 고산도 식초의 제조 조건을 조사하였다. 초기 알코올 함량(6, 7, 8 및 9%)을 달리하여 고산도 초산 발효액의 품질특성을 비교 분석하였다. 그 결과 알코올 함량 6% 및 7%에서 적정산도 12%의 고산도 식초 제조가 가능하였으며, 초기 알코올 함량이 낮을수록 유도기가 단축되어 수율이 높은 경향이었다. 상기 고산도 사과식초의 품질특성은 pH 2.91~3.20이고 적정산도 12.0%이며 유기산은 acetic, malic, citric 및 oxalic acid가 검출되었다. 이상의 결과 사과 농축액을 이용하여 알코올 발효 후 2단계 발효과정으로 고산도 사과식초 제조가 가능하였으나 산업적으로 활용하기 위해서는 유가식 첨가에 의한 발효기간 단축에 관한 연구가 요구되었다.

• 만화애니메이션 연구
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• 통권20호
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• pp.63-74
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• 2010

만화의 역사에 있어서, 불과 최근 몇 년 전 까지는 인쇄술을 기본으로 하는 출판문화의 시대였다. 미디어 평론가인 마샬 맥루한은 20세기의 만화가 아직도 인쇄, 혹은 조잡한 목판의 성격을 갖고 있다고 말했다. 그러나 1980년대에 들어와서는 '영상만화, CD- ROM 만화, 클릭 만화 등이 출현하여 전통적인 출판만화와는 다른 다양한 형태의 만화가 등장하였다. 출판 외 형식으로 만화를 제작 배포 할 수 있는 전자기기와 인터넷이 발전 대중화 되면서 이러한 현상은 다각화.가속화 되었다. 이처럼 웹툰의 다양한 형식 발전을 기저로 본 연구는 웹툰에 나타난 표현과 인식의 세로영역으로의 확장 현상에 대하여 '수직적 이미지 연상', '종형(縱形) 파노라마', '공간모핑(morphing)'이라는 개념을 제시할 것이다. 또한 전위적이고 역동적인 작품으로 주목받고 있는 강도하의 <로맨스 킬러>, <큐브릭>을 텍스트로 살펴보고 그 의미를 분석할 것이다. 강도하는 2009년, 부천만화정보센터가 한국의 만화 전문가들로부터 설문한 '오늘의 우리 만화가 20인'에 선정되는 등 웹툰시대의 초기부터 현재에 이르기 까지 가장 실험적이고 영향력 있는 웹툰 작가로 인정받고 있으며 이러한 맥락에서 각각 2007년, 2009년에 발표된 그의 두 작품을 분석해 보는 것은 웹툰의 표현과 구조에 대해 보다 다각화된 시점에서의 이해를 도모하고 공간 표현의 확장 예술로서 웹툰의 가치를 조명하는데에 도움이 될 것이다.

• 한국의류학회지
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• 제16권3호
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• 복식문화연구
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• 제18권2호
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• 조형예술학연구
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• 제2권
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• 한국식품과학회지
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• 제26권4호
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• pp.348-354
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• 1994

반응 조건을 달리하여 게껍질에서 chitin을 추출하고 이를 탈아세틸화하여 chitosan을 제조하였으며, 이들의 물리, 화학적 특성과 소화관내 기능성을 in vitro법으로 실시하였다. 이들 chitin질의 bulk density는 $127{\sim}208\;mg/ml$, 점도는 0.1% chitin의 경우 $80{\sim}581\;cP$, 0.5%, chitosan은 $80{\sim}3,670\;cP$로 다양한 수치를 나타냈으며, chitosan의 탈아세틸화도는 $81{\sim}93%$로 비교적 높았다. Chitosan 제조시의 알칼리 농도와 반응 온도가 일정할 때 반응 시간이 경과할수록 탈아세틸화도는 증가하였고, 점도는 감소하는 경향을 보였다. Chitin질의 보수력은 온도 상승에 따라 약간 상승하였고, $37^{\circ}C$에서 chitosan D가 가장 높았으며, bulk density가 낮을수록 높은 보수력을 나타냈다. Glucose 흡수 억제 효과는 bulk density가 낮고 보수력이 큰 chitin길이 더 컸고 chitosan D가 가장 높은 38%를 나타냈다. Chitin질의 bile acid 흡수 억제 효과는 투석 1시간 후에 $15{\sim}34%$를 나타냈고, pectin은 39%, cellulose는 9%를 나타냈으며 chitosan D는 3% 농도에서 34%의 가장 높은 억제 효과를 나타냈다.

• 대한한의학회지
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• 제19권1호
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• pp.271-298
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• 1998

During these days of new understanding, western medicine has developed remarkably and a revaluation of traditional medicine has been achieved. This appears to have resulted from the sound criticisms of what western medicine has achieved up to now; excessive subdivisions of clinical medicine, severe toxicity of chemical drugs, lack of understanding about patients complaints which cannot be understood objectively, and etc. It is thought that the role of traditional medicine will be more important in the future than it is now. Someone said that the research methods of traditional medicine depends on the way of experimental science too much. That there was no consideration of a system for traditional medicine and the critic also went so far as to assert that in some cases the characteristics of eastern ideas is to permit irrationalism itself. In view of this thinking, the term traditional medicine seems to have been used somewhat too vaguely. However, traditional medicine is a medical treatment which has existed since before the appearance of modern medicine and it was formed from a traditional culture with a long history. One form of traditional medicine, oriental medicine based upon ancient Chinese medicine, was received in such countries as Korea, Japan, Thailand, Vietnam, Tibet, and Mongolia. Oriental medicine then developed in accordance with its own environment, race, national characteristics, and history. Although there are some simultaneous differences between them, three nations in Eastern Asia; Korea, Japan, and China, have especially similar features in their clinical prescriptions and medical literature. These three nations are trying to understand each others unique traditional medicines through numerous exchanges. Even though many differences in their ways of studying have developed over history exist, recent academic discussions have been made to explore new ways into oriental medicine. Therefore a comparative study of oriental medicine has gradually been thought to be more important. In Korea the formation of a new future-oriented paradigm for oriental medicine is being demanded. The purpose of the new paradigm is to create a new recognition of traditional culture which creates an understanding of oriental medicine to replace the diminished understanding of oriental medicine that was brought about by the self-denial of traditional culture in modem history and cultural collisions between oriental and occidental points of view. Therefore, to make a new paradigm for oriental medicine which is suitable for these days, and fortifies the merit of oriental medicine while compensating its defects, the author has compared the characteristics of oriental medicines in Korea, Japan, and China. The conclusions of this research are as follows: 1. The fundamental differences of the traditional medicines of these three nations are caused by the differences in the systems of Naekyung and Sanghannon. 2. The pattern-identification of illnesses is generally divided into two categories; the pattern identification of Zang-Fu and the pattern identification of prescription. 3. There are many differences in the definition of terms, such as Yin and Yang, Deficiency and Excess, and etc. 4. Chinese traditional medicine has some new concepts about pattern identification and epidemic febrile disease. 5. Japanese traditional medicine has some characteristics about pattern identification of the whole bodys condition and signs of abdominal palpation. 6. In terms of the effects of herbal drugs, Chinese traditional medicine attaches great importance to the experiential efficacy of the herb, and Japanese traditional medicine is taking a serious view of the effects of experimental medical actions.

• 만화애니메이션 연구
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• 통권36호
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• pp.303-323
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• 2014

1954년 텔레비전 방송개시를 전후해 미국 애니메이션산업은 새로운 국면을 맞는다. 1930년대와 40년대를 거치면서 애니메이션산업을 주도해오던 스튜디오들은 앞 다투어 새로운 제작환경에 적응하기 위해 필사의 노력을 기울인다. 그러한 노력들은 미국 애니메이션 황금기에 이룩한 업적들을 계승하여 다시 한 번 카툰 애니메이션의 질적 향상을 이루었고, 비록 버나드 오마(Bernard Oma)와 같은 평론가들이 반복되는 추격 패턴, 과장과 유머로 포장된 폭력성 등을 아이디어의 부재로 표현하며 맹비난하는 것을 뒤로 한 세대를 마감했지만 그 영향력은 오늘날에 이르러서도 지속되고 있다. 당시의 작품들은 오늘에 이르러서도 관객을 사로잡는 힘은 오히려 최근의 작품들이 감히 따라가지 못할 정도이다. 당시를 이끌던 걸출한 연출자들의 면면에서도 척 존스는 단연 빛나는 존재였다. <톰과 제리> 시리즈, <벅스 버니>, <대피 덕> 등 카툰 애니메이션사에 있어 중요한 걸작들이 그의 손을 통해탄생했다. 본 연구에서는 척 존스가 1963년부터 1967년까지 연출한 의 에피소드들을 가지고 그의 연출기법을 분석하였다. 최근 들어 한국 애니메이션은 변화하는 영상 미디어환경에 적합한 작품들을 선보이며 다시 한 번 재기의 동력을 얻고 있는 듯 보인다. 본 연구는 캐릭터 애니메이션의 정수라 할 수 있는 척 존스의 작품을 통해 우리 애니메이션이 가야할 방향에 대해 다시 한 번 생각해 보는 계기가 되고자 한다.

• 유통과학연구
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• 제4권2호
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• pp.5-20
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• 2006

소매업은 '입지산업'이라고 한다. 왜냐하면 소비자를 직접 판매대상으로 하는 소매업자에 있어서 입지는 점포의 경영성과를 좌우하는 소매믹스 중 가장 중요한 요인이기 때문이다. 소매업자의 경영성과는 일반적으로 매출액으로 나타낼 수 있다. 따라서 소매업자는 매출액을 올리기 위해서 고객 수를 늘릴 수 있는 방안에 집중하게 된다. 본 연구에서는 먼저, 점포선택에 관한 가장 기본적인 모델인 라일리의 소매인력모델, 콘버스 모델, 허프확률모델, 다항로짓모델을 검토하고자 한다. 다음에는, 기존의 이론모델을 이용하여 대형 백화점의 예상매출액을 추정하는 분석방법과 절차를 제시하고, 사례시설인 D광역시 L백화점의 출점에 따른 예상매출액을 추정하고자 한다. 마지막으로 본 연구의 문제점과 향후의 연구과제에 대해서 논의 하고자 한다. 본 연구는 선행연구들을 토대로 한국의 상권구조 특성을 감안하여 유통업 현장에서 통용될 수 있는 매출 변수들이 보완된다면 한국적 현실을 반영할 수 있는 수정모델의 제시가 가능한 것으로 분석되었다. 따라서 앞으로의 연구에서는 기존의 상권분석모델에 대한 비판적인 검토를 통하여 우리나라의 소매시장에 적합한 이론모델을 구축해야 할 것이다.