• 한국의류산업학회지
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• 제17권2호
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• pp.147-156
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• 2015

Lately, unique hats, which worn by iconic figures in fashion industry, like Anna Piaggi and Isabella Blow to express the originality and self-awareness, received attention from the mass media along with their styles. The purpose of this research is to investigate, analyze, and media-specific characteristics of objet hats which are used to show various items, shape up targets, and express the concept of attires. In order to fulfill this, this study focuses on objet hat designers who have been influential from the 1980's to recent years. As for the research methodologies, this study conducts investigating examples from fashion related books, research papers, and websites along with literary research. Study of objet hat is based on cases and works of designer in objet hat in contemporary fashion expression shape. As a result, objet hat, First, the experimental work to maximize the effectiveness as a fashion objet containing the concept of designer in the runway shows. Second, as pieces displayed on art galleries and museums, objet hats are recognized as artistically defined world of conceptual designers' imaginations. Third, objet hats function as ways of celebrities' expression, who affects the public as fashion leaders. Lastly, objet hat designers's activities operate the story and notion contained in the work through a variety of genres. Objet hats, an independent fashion genre, which symbolize creativity and freedom, influenced the fashion industry with astonishing materials, forms, and decorations.

• 만화애니메이션 연구
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• 통권50호
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• pp.43-73
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• 2018

연구는 애니메이션 문화예술교육 중 '오브제(Object)'에 관한 연구이다. 현대 예술에서 오브제의 활용에 관한 연구는 활발하게 진행되고 있다. 큐비즘부터 다다이즘, 초현실주의, 미래파, 팝아트에 이르기까지 오브제는 현대미술과 발걸음을 함께 한다고 해도 과언이 아닐 것이다. 또한 오브제는 키네틱 아트, 비디오 아트, 미디어 아트, 애니메이션 등 '움직임'을 표현하는 영상예술 분야에서도 주목할 만한 가치를 가지고 있다. 그러나 예술작품에 사용되는 오브제의 유형을 분류하고 연구한 사례는 많지 않다. 이에 본 연구자는 초현실주의 담론에서 영향을 받아 6가지 오브제 유형분석 틀을 마련하고 오브제 애니메이션의 '미학적 정서와 창의성 향상의 교육적 측면'을 고찰하는 연구를 진행하였다. 유형분석틀은 드로잉 오브제, 실재(존재)의 오브제, 몰핑 오브제, 표피의 오브제, 대입된 오브제, 아상블라주 오브제로 명명하였고 이 유형을 사례 이미지와 함께 제시하며 분석하였다. 본 연구에 사용된 자료는 문화예술교육에서 비전문가를 대상으로 교육한 오브제 애니메이션 결과물을 중심으로 하였다. 미학적 정서는 프로이드가 말한 생명에 대한 욕구(Eros)를 Attraction(매혹)으로, 죽음에 관한 욕구(Thanatos)를 Uncanny(두려운 낯설음)으로 칭하며 상반된 개념을 토착신앙인 Animism과 연결하여 설명하였다. 다음으로 게슈탈트 심리학자인 카를 던커(Karl Duncker, 1903-1940)가 말한 '기능적 고정성(Functional fixedness)'이란 용어와 관련지어 오브제 애니메이션의 교육적 측면인 '창의성'에 관하여 논하였다. 기능적 고정성 극복이란 사물이 가진 기능적인 측면에만 고착되어 발상의 전환을 하지 못하는 현상이다. 본 연구에서는 '오브제 애니메이션' 문화예술교육을 통해 기능적 고정성을 극복한 사례로 창의성 향상의 교육적 측면을 논하였다. 궁극적으로 본 연구는 오브제 애니메이션의 미학적 정서와 창의성 향상의 교육적 측면을 '오브제 유형 분석'을 통해 고찰하는 것이다. 나아가 '오브제 애니메이션'을 문화예술교육에서 활용할 때 방향성을 제시하는 것에 의의가 있다.

• 패션비즈니스
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• 제24권2호
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• pp.136-153
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• 2020

In the second half of the twentieth century, fashion shows were a long-standing promotional medium and changed form and styles as times changed. In the past, if a model were on the stage simply to showcase a brand's work, the stage would have been transformed into a more active space, displaying various performances or seasonal themes combined with art. Then in the 2000s, there was an increasing number of instances when the global fashion industry of used figurative objet in organizing a fashion show's stage. In particular, because fashion shows require audience response and satisfaction, producing displays using objet is an effective marketing method. In the early 2000s, many brands were already introducing runway displays using objet, and these cases are expected to increase further in the future. This collection of 23 ready-to-wear models, which constituted the runway display, was by utilizing the objet more than five times from the 485 brands listed in Vogue's runway category. Based on our previous research, we classified the objet expressive characteristics as reproducibility, simplicity, non-artificiality, and fantasy. Among the 207 collections that we analyzed, the collection that utilized objet in its runway display had 170 circuits. Using objet in the runway display leverages visual language which allows one to communicate the season's concept, brand identity, and desired message more easily. Futhermore, it was spatially expressed to create feeling of satisfaction.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2003년도 가을학술발표대회
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• pp.32-33
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• 2003

• 한국의류산업학회지
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• 제5권1호
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• 비교문화연구
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• 제53권
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• pp.73-102
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• 2018

이 논문의 목적은 자크 라캉(Jacques Lacan)의 욕망 이론을 토대로 이디스 워튼(Edith Wharton)의 "순수의 시대(The Age of Innocence)"의 두 주인공인 뉴랜드 아처Newland Archer)와 엘런 올렌스카(Countess Ellen Olenska)의 관계에서 엘런을 대상 소타자(objet petit a)로 규정하고 두 사람의 사랑의 불가능성을 욕망의 불가능성으로 읽어내는 것이다. 뉴랜드는 1870년대의 뉴욕 상류사회에서 참된 사랑과 참된 감정이 결여되어 있다는 것을 깨닫는다. 그에게 엘런은 뉴욕 상류사회의 틈새와 결핍이자 그의 삶의 틈새와 결핍을 동시에 구현하면서 그 틈새와 결핍을 메울 수 있는 존재, 즉 대상 소타자가 된다. 대상 소타자로서의 엘런은 뉴랜드의 욕망을 작동시키는 원인으로 작용하지만 뉴랜드는 중요한 순간마다 사회적 규범 속으로 도망침으로써 엘런과의 결합을 지연시키는 방향으로 행동한다. 그의 행동은 욕망의 목적이 대상과의 결합이 아니라 욕망의 순환과 재생산이라는 특성을 보여 준다. 뉴랜드가 마지막 장면에서 엘런과의 재회를 포기하는 것은 엘런을 도달할 수 없는 대상으로, 접근 불가능한 대상으로 유지시키고 그녀를 욕망의 대상으로 영원히 붙잡아 두기 위한 노력으로 해석될 수 있다. 이 논문의 또 다른 목적은 이런 욕망의 특성을 남녀관계의 특성과 연관시켜서 "순수의 시대"를 남녀관계의 본질을 보여주는 이야기로 읽어내는 것이다. 주체와 대상 소타자의 관계를 보여주는 뉴랜드와 엘런의 관계는 남성과 여성이 결코 조화로운 관계를 만들어낼 수 없다는 것을 보여준다.

• 영어영문학
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• 제53권2호
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• pp.219-241
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• 2007

This study takes its point of departure from Lacanian psychoanalysis and explores the point that an irremediable gap in the human subject can be illuminated in terms of the Lacanian categories, fantasy, symptom, gaze or voice as cause of desire of the Other. With respect to the category of the symptom, Lacan claims that the Other is always already there in the constitution of the subject, that is, the relation of the subject to the Other that is overwhelming as well as attracting the subject. Chapter II deals with the unthought, excessive ground of the conscious that borders on the subject, as is the case of self-excentric aspect of the man. Indeed, in Lacan's early work, the subject is essentially a relationship to the Other as desire(objet petit a), and there is no such thing as a symptom or fantasy without some subjective involvement. Lacanian unknown real, perpetual excess as the cause of desire animates the subject even as it threatens to blast it apart. The structures that establish the lines of desire in every individual are derived from an ineluctably intersubjective field. The Other is always already there in the constitution of the subject. In the final years of Lacan's teaching we find a kind of universalization of the symptom and almost everything that is becomes in a way symptom. Symptom, embodied in Laura in "Goblin Market," is her only substance, the only positive support of her being. By looking at the Laura's symptom in chapter III we gain an insight into the forbidden domain, into a real space that should be left unseen and unthought. The voice of goblin men therefore functions as a sublime object that is animating as well as dominating element even as it threatens to disintegrate the subject. Objet petit a as a sublime object that must be excluded in reality returns in the real, taking on a certain materiality which has an effect on Laura, that is, animates Laura's desire. Objet petit a is a real object, signifying nothing. In conclusion, the theoretical importance of Lacanian psychoanalysis is the relation between a subject and an Other as Objet petit a.

• 건축사
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• 통권547호
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• pp.26-27
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• 2014

• 디지털융복합연구
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• 제11권8호
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• pp.331-340
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• 2013

초현실주의 대표적인 작가 르네마그리트가 주장한 데페이즈망 기법은 여러매체에 활용되어지고 응용되어 왔다. TV, CF, 광고등 다양한 매체를 통하여 데페이즈망의 기법들을 적용한 흔히 사용되어지는 소재들을 새로운 낯선 환경에 재배치되었을때 고정관념의 탈피와 시각적 충격을 통해 흥미를 부여하고자 하였다. 서로 다른 용도의 투명스크린과 오브제를 활용하여 프로젝션 맵핑의 매체에 접목하여 작품 '환영'에 데페이즈망 기법을 적용하여 낯선 환경을 통해 시각적 즐거움과, 새로운 미디어로써의 가능성과 투명스크린과 오브제를 활용한 프로젝션 맵핑의 기법을 제시하였다. 데페이즈망의 기법에서 대표적인 공간의 변조, 모순된 이미지의 결합, 물체의 변형과 변화 3가지 분류에 의해 표현방법과 효과를 적용하여 작품사례를 제시하였고, 레이아웃, 타이포그래피, 이미지, 컬러, 시간으로 분류하여 유형별 분석하였다. 작품 '환영'을 통해 프로젝션 맵핑과 데페이즈망 기법을 활용한 새로운 오브제와 매체의 특성을 적용하여 확장하였다.

• 복식문화연구
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• 제28권5호
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• pp.573-590
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• 2020

The purpose of this study was to develop contemporary Qipao design that emphasized creative feminine beauty with a unique sense beyond the concept of traditional Qipao design. This would be achieved using the expressive technique of human liberation from the oppression of the unconscious world a supported by surrealism. Using existing literature and previous research, surrealist expression technique used in fashion were investigated and analyzed. The results are as follows. First, the possibility of new and original design beyond existing surrealistic Qipao design was demonstrated through various realistic surrealism expression techniques, such as dépaysement, objet, and trompe-l'œil techniques. This occurred by exploring various unconscious world out of fixed ideas and through expression techniques of surrealistic fashion such as imagery of body parts, metaphorical expression of objects, and position deformation and illusion. Second, Qipao design that combined objet and attempted ordinary escape by combining isolated body parts (such as hands, eyes, and lips) within the composition combine with surrealistic expression enabled various and fun surrealistic fashion designs to emerge. Third, the metaphor of surreal lips and eyes (mainly used in works of this study) presented a unique and extraordinary combination of images in accessories and partial design that used the dépaysement technique. Thus, it was possible to expand surrealistic expression by including LED wire.