• 패션비즈니스
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• 제9권6호
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• pp.86-100
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• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.

• 한국의류학회지
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• 제10권1호
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

• 한국가구학회지
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• 제22권1호
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• pp.42-53
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• 2011

This article aimed at identifying the concept of 'artistic-quality' of furniture and presenting the concept of 'artistic-quality based furniture creation' as the future direction of furniture design. For this, the authors approached to the theoretical background of the concept of artistic-quality, and then examined the prospect of practical application of the concept by analyzing the tendencies in today's art furniture. In this light, 'artistic-quality' of furniture could be understood as a quality that triggers the designer's venturous spirit throughout the process of furniture creation, so that the designer keeps seeking for the novelty and innovation in his experimental design and process. The feature of the current tendencies of art furniture in terms of the expression and effect, which could explain this venturous spirit of artistic-quality based furniture creation, could be summarized as follows; first, High-touch: Furniture that exemplifies the artistic-quality by specific texture of handmade quality, second, High-feeling: Furniture that arouses the new feelings and new concepts of furniture structure & function by experiments on new abstract forms of furniture, and third, High-mentality: Furniture that leads us to the sphere of subtle aesthetic recognition and mentality with its specific poetic expression and sensibility.

• 대한두경부종양학회지
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• 제31권1호
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• pp.1-4
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• 2015

Fine needle aspiration cytology(FNAC) holds a main role in assessing thyroid nodules. But nonnegligible rate of thyroid cytology is reported as uncertain, indeterminate or inadequate for diagnosis. Recently, the microhistologic evaluation by core needle biopsy(CNB) under ultrasound sonographical guidance has been reported to show high accuracy for the diagnose of thyroid nodules. Aim of this review was to furnish the state of the art of this topic by summarizing previous published data about indication, diagnostic performance, and complication of CNB in thyroid lesions compared with FNAC

• 한국가구학회지
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• 제20권4호
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• pp.290-306
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• 2009

This article aimed at broadening the view on 'the concept of function' in furniture design. In this context, we argued that the established concept of furniture function has confined itself to the rational perspective, so that the emotional action and influence of furniture hardly regarded as an important issue in furniture design, and this has been a hinderance to multidirectional discussions on the meaning of furniture in our life. Starting from the investigation on the basis that forms the different dimensions of our experience of furniture, we clarified that we should view the meaning of furniture within a wider sphere where the actions of furniture on our perceptional, behavioral, and emotional levels are inclusively considered. In this light, 'emotional function' of furniture was defined as a concept that explains a multidimensional action of furniture, which leads creative aesthetic experience which enrich the interplays between designer, furniture, and user. The feasibility of the concept has been examined by an analysis on the characteristics of contemporary Art Furniture, which is experimental approaches towards various aesthetic values of art and design. In order to realize emotional function of furniture, furniture should become an experiment for the new perception and emotion; invite more of the user's interplay and action in the meaning-making process; and arouse emotional echoes and reflections within user's mind.

• 디지털융복합연구
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• 제20권5호
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• pp.741-749
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• 2022

본 연구의 목적은 새로운 기술들이 속속 발명되는 오늘날 인공지능 기술이 예술과 만나 어떠한 매체 지각을 수용자로 경험케 하는지 알아보고자 하는 것이다. 인공지능 작품들 중 지각과 관련되여 부각되는 작품들을 위주로 하여 인공지능 기술이 예술과 만나 어떠한 매체 지각을 수용자로 경험케 하는지 알아보았다. 인공지능 미술의 매체 지각으로 기계 환각, 언캐니 그리고 인공 공감의 특성을 규명하면서 이러한 지각들이 결국은 가족유사성 안에서 아우라 지각임을 규명하였다. 앞으로 인공지능 기술은 더욱 발달하게 되고 예술가들은 그들의 실험을 멈추지 않을 것이다. 예술가들에 의해 생성된 작품들은 새로운 경험들을 관객에게 제공하면서 관객들의 지각 경험을 확장 해 가리라 기대해 본다.

• 한국융합학회논문지
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• 제11권9호
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• pp.125-134
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• 2020

본 연구는 온라인 콘텐츠를 활용한 미술관 교육 프로그램의 한계점을 보완하기 위해 온라인 미술관 교육 사례들을 젠킨스의 뉴미디어리터러시 핵심 역량을 토대로 분석하였다. 젠킨스가 제시한 체계적인 미디어 교육의 핵심 역량은 미디어를 활용하여 콘텐츠를 개발해야하는 온라인 미술관의 향후 방향성에 대한 기준점이 될 수 있다. 사례 분석을 위해 국내 미술관으로는 국립현대미술관, 국립중앙박물관, 사비나 미술관, 보름산미술관을 선택했고 국외 미술관으로는 클리블랜드미술관, 메트로폴리탄미술관, 게티미술관, 테이트모던미술관을 선택했다. 젠킨스의 뉴미디어리터러시 핵심 역량에 따라 분석한 결과로 국외 미술관의 경우에는 화상회의, 사이트 페이지 하단의 댓글 달기 등 상호 소통을 위한 콘텐츠를 구성하고 있었지만 국내 온라인 미술관은 이러한 요소가 부족하였기 때문에 커뮤니케이션 콘텐츠를 구성하여 전용, 네트워킹, 협상력, 분산된 인지, 집단지성의 역량을 향상시켜야 할 필요가 있었다.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.40-40
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• 2003

People calls the 21th century when they have just entered 'the age of culture'. In the end of the last country, they reflected the trend of materialism and with this the business of knowledge, art and culture which leaded the information revolution arose as the dominant form of industry. The world opened 'the age of culture'. In the new paradigm called 'the age of culture', the color has become the leading medium to change the comtemporary vision. At this time, this study has diversely considered about purple displayed in the modern fashion.

• 한국가구학회지
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• 제28권3호
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• pp.207-223
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• 2017

Jeonju-Jang is the wood furniture that was made in Chonbuk Jeonju province during the Joseon Dynasty, and was used by middle-upper social classes. It has value as a local cultural heritage because it has unique characteristics in terms of the shape of the furniture, the metal ornament and various functions are integrated in accordance with user's requirements. Therefore, the purpose of this study is to define the structural characteristics of the Jeonju-Jang through case studies of 16 existing artifacts in order to preserve and inherit the value as local cultural resources. The conclusion is as follows. First, Jeonju-Jang in the late period of Joseon Dynasty that is made up of one board to the bottom with the binding of the board. and the front wall, the Juibyuckkan and the Meoruemkan are omitted or made small, so the structure of the surface is simple. There are three or four drawers under the Cheon pan(top plate). There are drawers and shelf inside the hinged door. In the case of a two-layer type, there is a Gaegumeong type door which has half of one side hinged. Second, Jeonju-Jang of the Japanese Ruling Era had a Juibyuckkan by frame binding and an increase in the number of Meoruemkan. and it had independent legs. The Cheon-pan(top plate) was more left and right than both sides. Third, in the late Joseon Dynasty period as a feature of the metal ornaments, cast iron and yellow brass were used as materials. In the Japanese Ruling Era, nickel was mainly used. Various patterns were engraved and the number increased, and it became gorgeous surface as a whole.

• 한국융합학회논문지
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• 제10권7호
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• pp.121-131
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• 2019

아트 콜라보레이션 광고는 상품과 직접적인 관련이 없는 미술작품을 활용하여 더 가치 있는 상품으로 재창조하는 것으로 창의적 사고가 핵심 가치로서 작용한다. 본 연구의 목적은 창의성 기법으로서 마인드 맵과 스캠퍼 기법이 아트콜라보레이션 수업에서 갖는 창의적 사고의 효과를 규명하고자 한다. 중학교 학생 5명에게 총 6차시 아트 콜라보레이션 광고 수업을 진행한 후 수업 결과인 학생 활동지와 작품을 통해 창의적 기법과 창의성의 요소간의 특성을 분석하였다. 그 결과는 다음과 같다. 첫째, 아트 콜라보레이션 활용 미술 수업을 통하여 학생들은 주제 정하기 단계인 '마인드 맵' 활동에서는 유창성이 아이디어 탐색 단계인 '스캠퍼' 활동에서는 '융통성'과 '독창성'이 발휘되었다. 둘째, 수업의 전체 과정을 통해 가공되지 않은 수준의 생각을 구체화하고 깊이를 발전시키는 정교화의 과정을 관찰할 수 있었다. 본 연구는 두 개 이상의 영역이 만나 각각의 핵심 역량을 바탕으로 협업하는 사례로 학생들의 창의적 융합 사고증진과 관련된 연구에 기여할 것이다.