• Science of Emotion and Sensibility
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• v.23 no.2
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• pp.75-88
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• 2020

Given the development of information technology, various methods for efficient information delivery have been constructed as the method of delivering product information moves from offline and 2D to online and 3D. These attempts not only are about delivering product information in an online space where no real product exists but also play a crucial role in diversifying and revitalizing online shopping by providing virtual experiences to consumers. 360 product image is a photorealistic VR that allows a subject to be rotated and photographed to view objects in three dimensions. 360 product image has also attracted considerable attention considering that it can deliver richer information about an object compared with the existing still image photography. 360 product image is influenced by divergent production factors, and accordingly, a difference emerges in the responses of users. However, as the history of technology is short, related research is also insufficient. Therefore, this study aimed to grasp the responses of users, which vary depending on the type of products and the number of source images in the 360 product image process. To this end, a representative product among the product groups that can be frequently found in online shopping malls was selected to produce a 360 product image and experiment with 75 users. The emotional responses to the 360 product image were analyzed through an experimental questionnaire to which the semantic classification method was applied. The results of this study could be used as basic data to understand and grasp the sensitivity of consumers to 360 product image.

• Journal of Science of Art and Design
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• v.11
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• pp.79-108
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• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Cartoon and Animation Studies
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• s.47
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• pp.171-191
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• 2017

In recent years, artistic programs considering both physical and psychological changes in old age have been implemented in various fields. These programs include participatory activities such as painting, play, singing, photography, dance, cartoon animation and so on. It is known that culture and art education programs lead people to emotional growth and social interaction. In particular, culture and art education for the elderly tends to affect positively on the quality of life. However, there are still lack of teaching methods and curriculums in the filed. It is considered that cartoon has a great potential as a teaching method of culture and art education for elderly. This study aims to discuss ways to vitalize the role of cartoon using the qualitative data of four elderly participants in culture and art education programs. The case study analyses reveled that cartoon program for the elderly not only plays a role to make their daily lives more enthusiastic but also provides a social passage to communicate to world. The Cartoon program designed for the elderly was a tool to reveal their inner world to others, and shed new light on their past memories, and long for the precious moments in life. At the same time, it was a meaningful time to lessen the depth of loneliness in old age, and even to heal their physical disability and emotional conflicts. The hardest part of drawing an cartoon was when it did not turn out as they wished. Based on the study results, the researchers explored the therapeutic usefulness of cartoon for the elderly, and discussed the ways to activate it in the field of elderly welfare.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.33 no.6
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• pp.490-496
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• 2011

Purpose: Dr. Marquardt made the facial 'phi' mask using golden ratio. Most class III patients have bulky faces and want a smaller face. Using a facial golden mask, this study estimated and compared frontal photographs before and after operation for soft tissue measurement. The golden mask can be considered as a reference tool for facial esthetic analyses especially in lower face. Methods: Forty patients who had undergone orthognathic surgery at Samsung Medical Center from January 2006 to December 2009 were included in this study. These patients had Class III malocclusion. Lateral cephalometric radiographs, frontal clinical photos of pre-op and 8~12 month later post-op, and the facial 'phi' mask using golden ratio, were used for analysis. Reduction of the lower face area, occlusal plane changes, amounts of mandible setback and amounts of maxilla posterior impaction were estimated. Results: Lower facial reduction ratio and mandibular setback amounts were significantly different between 1-jaw and 2-jaw groups. Average postoperative changes in the area of lower face between bilateral sagittal split ramus osteotomy (BSSRO) and BSSRO combined maxilla posterior impaction were compared by using an independent simple t-test and $P$ value was 0.016. Therefore, the lower facial reduction ratio and mandibular setback amount were significantly different in maxilla posterior impaction. Conclusion: The two-jaw surgery group showed more reduction of the lower facial area than the 1-jaw surgery group. The amount of lower facial reduction was more related with the amount of mandibular setback. There was no significant relation in lower facial reduction with amount of maxilla posterior impaction, pre-op occlusal plane, post-op occlusal plane and the mandibular angle. A relationship between the change in the lower facial area and the amount of maxilla posterior impaction or the change of mandibular angle occlusal plane at pre-op could not be found because of the difference in the amount of setback between two groups.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.2 no.1
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• pp.93-104
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• 1982

DTM data evaluation regards accuracy and efficiency as its most important parameters, and these two elements are sensitively influenced by the sampling technique employed and its procedure. This study attempts to improve sampling techniques and evaluate the accuracy of DTM based on earth volume calculation, using aerial photography and field survey information as basic DTM data, and a regular grid and progressive sampling method for sampling process. Especially, the progressive sampling has employed different combinations of threshold and sampling criteria, that is, parameters influential on efficiency and accuracy, for the purpose of numerical tests intended to permit comparative analysis. The tests have resulted in the findings that in progressive sampling its grid density fits in well with given terrain characteristics in proportion to their variability. and that threshold and accuracy contain close mutual relations in which an increased threshold bringing more efficency but less accuracy. It follows, therefore. that a threshold, when appropriately determined, can be of very efficient use for considerably broad applications, and particularly, will play a significant role in its application to such general civil engineering as earth volume calculation.

• Culinary science and hospitality research
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• v.16 no.3
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• pp.218-236
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• 2010

The concept of food coordination was introduced at the end of the 1990s and has generated a great deal of interest until now. However, no standard for the classification of such studies has been established yet. This study was conducted to examine the trends in food coordination studies published from 2000 to 2008. To accomplish this, approximately 335 food coordination articles were reviewed. Classification based on content analysis and the document review were conducted based on study themes(subjects), study forms, study designs, places of application, survey area and sample types. The most important type of study identified in this review was study themes. The themes of the study were divided into the following 10 subjects: 1) studies on the definition and recognition of food coordination, 2) studies on the environment, 3) studies on colors and package designs, 4) studies on table setting, table manner and etiquette, 5) studies on photography, editorial design, identity design and menu, 6) studies on components of dining atmosphere display and table/glass ware, 7) studies on emotions and sensibility, the five senses and food coordination, 8) studies on human resources, 9) studies on reviews, food & culture and education, 10) studies on purchasing, consumer behavior and marketing. The most common subjects were the components of dining atmosphere display and table/glass ware(23.6%). In addition, 17% of the articles reviewed were conducted to study colors and package designs, 14.6% to evaluate purchasing and consumer behavior and marketing, 13.4% to evaluate the environment, and 9.6% to study food & culture and education. Overall, these five subjects accounted for more than 75% of the articles reviewed.

• Journal of Bio-Environment Control
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• v.26 no.3
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• pp.215-220
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• 2017

This study was conducted to improve the insufficiency of fruit vegetable grafting system developed by National Institute of Agricultural Sciences, Rural Development Administration. When the rotary blade cut the stem of scions and rootstocks, the grafting failure at curved cutting surfaces happened. The cutting depth of a tomato seedling by a rotated cutter was calculated 0.11 mm even when the cutting arm length and the maximum stem diameter were 50 mm and 5 mm, respectively. Mathematical analysis and high-speed photography showed that there was no problem by cutting in straight the stem of scions and rootstocks. The compression test of seedling stems to design the optimal shape of gripper showed that stems were not completely restored when they were compressed above 0.8 mm and 0.6 mm in case of rootstocks and scion, respectively. This study found that the bending angle of stem of tomato seedlings at the grafting period was 10 degree on average. The optimal gripper finger was the edge finger type which could be precisely set center point by adjusting the distance between fingers. In addition, it was found that most of seedling could be grasped without damage when the finger-to-finger distances is set to 2.5 mm for scion and 3.0 mm for rootstocks and finger are coated by 1 mm-thick flexible material.

• The Journal of Art Theory & Practice
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• no.14
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• pp.187-215
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• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.