• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.7
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• pp.828-840
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• 2011

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the $20^{th}$ century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study 'what is fine art?' He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late $20^{th}$ century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into 'ready made,' 'intervention,' 'data type,' 'language,' and 'action and process.' The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.600-614
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• 2016

This study specifies the definition and characteristics of fake fashion by categorizing cases through an analytical framework that uses the concept of simulacre, which is one of the theories that explains the reproduction of images and symbols in a modern consumer society. The presentation stages of modern fake fashion based on Baudrillard's concept of simulacre are as follows: Stage 1 focuses on the realistic imitation of the original, Stage 2 maintains a similarity with the original while transforming through the distortion of shape or visual perception, Stage 3 is the reality of the original which has become significantly vague and actively involves the designer's creativity, and Stage 4 forms a new value and an independent aura beyond reproducing the original. The presentation techniques of modern fake fashion viewed in the concept of simulacre can be classified into optical illusions by reproduction, use of a fake object, use of unusual shapes, and re-signifying through borrowing. As a result of applying the collected cases to the analytical framework, image reproduction in Stage 1 with imitative nature is a counterfeit that cannot be regarded as fake fashion, and fake fashion in Stage 4 (that can be referred to as simulacre) is fashion with symbolic and multiple meanings with new and creative designs. Modern fake fashion analyzed in the concept of simulacre transforms or reproduces the preexisting original with the purpose of merely creating original designs as well as acts as a new symbolic signal that creates a new aura and sets a trend with a message.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.36-48
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• 2012

This study intends to provide fundamental data to develop creative high-value designs, proving that the cut-out technique, a decorative element of fashion design, can be used to express various visual effects. The author performed a literature review of such publications as Gap Press, Fashion News, and Mode & Mode from 2001S/S to 2010S/S, referring to Internet data to empirically analyze the cut-out technique in contemporary fashion. The study found that the cut-out design is effective overall, but is best suited for one-piece designs and for partial rather than whole items of clothing. The basic motif of the cut-out is a geometrical pattern based on a line, a tear, or is shapeless. The cut-out design is mostly shown as an overall pattern or as a symmetrical shape. Analysis shows that the characteristics of the contemporary fashion utilizing the cut-out technique are as follow: First, the cut-out technique exposes the curves of a woman's body in a direct or indirect way, thereby emphasizing her sexuality and maximizing the value of female beauty. Second, through the cut-out technique, we can highlight the various types of space formed by the technique and repeated patterns; we may also elaborate on single-patterned laser-cut designs, which will show that the particular surface effect of the material can strongly impact the attractiveness of the design through emphasis and decoration. Third, damaging or destroying clothes on purpose, showing surprising concepts through optical illusions, and expressing humor by ignoring existing clothing styles show our willingness to escape from traditional or obvious design ideas, as well as demonstrating individuality and playfulness.

• Archives of design research
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• v.15 no.2
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• pp.71-80
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• 2002

The artistic idiom of expression in modern poster art make great use of visual illusion. These visual illusions serve carne in sharp relief the idea or concept the artist wishes set forth to the viewer. However we must look at area beyond the psychological impact of visual illusion to the evolutionary history of past and present poster art. The yes of such investigation reveals that the interest in the sub psychological impact of visual illusion is especially deep and reaches for back into the past in the West. Looking at the a of the 15th century in Europe, there is the tradition of drawing that gives the illusion of distance depth, arid substance know as trompe l'oeil, while actually utilizing a flat surface. On needs only look at the works of Arzhibauld, anamolphoses and the surrealism in the works Eschew to realize their influence modern poster art.

• Cross-Cultural Studies
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• v.35
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• pp.97-122
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• 2014

Since the arrival of Chinese immigrants in the 1850s, many Euro-American writers tended to project their fears, contempt, desires and fantasy onto the Other race and perceived Chinese Americans in stereotypes-dangerous villains, unassimilated aliens, quiet and passive servants, sexually submissive women, or seductive prostitutes. However in the 1970s and the 1980s Euro-American novels expressed varying attitudes towards Chinese Americans. Many earlier EuroAmerican writers began portraying positive characterizations of Chinese Americans. The purpose of this study is to examine the ways one of the Euro-American writers, Howard Fast characterized Chinese Americans in The Immigrants. Part of the novel concerns a Chinese American family. Fast gave a favorable portrayal of Chinese Americans. Unlike many Euro-American novelists who dealt only with Chinese American villains and prostitutes and view Chinese Americans as the lowest class of American society, Fast, on the other hand, portrayed Chinese Americans as law-abiding and useful citizens. Thus, I will discuss how Howard Fast subverted the familiar negative characterization of Chinese Americans and placed Chinese American experiences in the context of American immigration history. Many white Americans tended to notice only the lurid and sensational aspects in the Chinese American community. They seldom regarded Chinese Americans as people with homes and families and seldom saw Chinese Americans as individuals, as human beings with feelings, pain, and joy. To counter this racist view, Fast described the family life of Chinese Americans and depicted Chinese Americans as individuals with a full range of human emotions and with strong family and cultural ties. Though Fast debunked some myths about Chinese Americans, he also reinforces other stereotypes or some stereotypical illusions about them. In conclusion, I'll demonstrate Fast's work remains an incomplete representation of Chinese Americans.

• Journal of Audiology & Otology
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• v.24 no.4
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• pp.167-173
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• 2020

Background and Objectives: Top-down restoration of distorted speech, tapped as phonemic restoration of speech in noise, maybe a useful tool to understand robustness of perception in adverse listening situations. However, the relationship between phonemic restoration and speech perception in noise is not empirically clear. Subjects and Methods: 20 adults (40-55 years) with normal audiometric findings were part of the study. Sentence perception in noise performance was studied with various signal-to-noise ratios (SNRs) to estimate the SNR with 50% score. Performance was also measured for sentences interrupted with silence and for those interrupted by speech noise at -10, -5, 0, and 5 dB SNRs. The performance score in the noise interruption condition was subtracted by quiet interruption condition to determine the phonemic restoration magnitude. Results: Fairly robust improvements in speech intelligibility was found when the sentences were interrupted with speech noise instead of silence. Improvement with increasing noise levels was non-monotonic and reached a maximum at -10 dB SNR. Significant correlation between speech perception in noise performance and phonemic restoration of sentences interrupted with -10 dB SNR speech noise was found. Conclusions: It is possible that perception of speech in noise is associated with top-down processing of speech, tapped as phonemic restoration of interrupted speech. More research with a larger sample size is indicated since the restoration is affected by the type of speech material and noise used, age, working memory, and linguistic proficiency, and has a large individual variability.

• Korean Journal of Audiology
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• v.24 no.4
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• pp.167-173
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• 2020

Background and Objectives: Top-down restoration of distorted speech, tapped as phonemic restoration of speech in noise, maybe a useful tool to understand robustness of perception in adverse listening situations. However, the relationship between phonemic restoration and speech perception in noise is not empirically clear. Subjects and Methods: 20 adults (40-55 years) with normal audiometric findings were part of the study. Sentence perception in noise performance was studied with various signal-to-noise ratios (SNRs) to estimate the SNR with 50% score. Performance was also measured for sentences interrupted with silence and for those interrupted by speech noise at -10, -5, 0, and 5 dB SNRs. The performance score in the noise interruption condition was subtracted by quiet interruption condition to determine the phonemic restoration magnitude. Results: Fairly robust improvements in speech intelligibility was found when the sentences were interrupted with speech noise instead of silence. Improvement with increasing noise levels was non-monotonic and reached a maximum at -10 dB SNR. Significant correlation between speech perception in noise performance and phonemic restoration of sentences interrupted with -10 dB SNR speech noise was found. Conclusions: It is possible that perception of speech in noise is associated with top-down processing of speech, tapped as phonemic restoration of interrupted speech. More research with a larger sample size is indicated since the restoration is affected by the type of speech material and noise used, age, working memory, and linguistic proficiency, and has a large individual variability.

• Journal of Convergence for Information Technology
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• v.12 no.2
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• pp.206-212
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• 2022

This study suggests art makeup design by utilizing the characteristics of psychedelic works. The study analyzed the concept of being psychedelic and art makeup based on precedent studies and publications, and classified the psychedelic characteristics as being those of mysterious, optical illusions, and playfulness. After selecting the work featuring the characteristics of being psychedelic, six works were created with this motif, by integrating the airbrush, the pictorial, and the object techniques of the art makeup expression techniques. As a result, it was demonstrated that the design that has utilized the characteristics of psychedelic works could be applicable to art makeup. Next, the confluence of art works and art makeup can serve as an approach to drawing creative designs. Thus, this study suggests a direction for extending the creativity and variety of art makeup design, and a continued development for art makeup design by further confluences with various areas is expected

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.