• Journal of Fashion Business
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• v.14 no.4
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.8
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• pp.5619-5626
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• 2015

The zenithal light is the one that is entered down into the interior space or the spaces such as the inner court, through windows high located in the wall or openings of the roof. The aim of this study is to analyze the types of mechanism for the zenithal light by studying some examples related to the zenithal opening, and to investigate those characteristics. One of the most important features is a structural unit of the skylight entering the room. In this study, according to the structural unit, the direct light type, the duct-type and the shade type was distinguished, and each type can be divided into several modified types. Precisely, the direct light type is divided into an unexposed type and an exposed type of the source of light. The duct type is also divided into an intensive duct type and a distributed duct type. The shade type is classified into a ceiling surface shade, a reflections objet shade, a double ceiling shade and a wall shade.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.407-417
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• 2020

Modern art is undergoing drastic changes due to the development of digital media. In a digital media-based environment, writers are producing new works that share artistic values and experiences with audiences. In this study, it is the production of a work on interactivity that combines cutting-edge digital technology with objects. When a viewer touches an object, an LED screen connected to the object is completed. Prior to the production of the work, for theoretical consideration, the research was focused on academic paper materials, professional books at home and abroad, and internet analysis. The production of the work used Arduino and presented production circuits and programming sources for the artists to apply to the production of the work. This study is meaningful in presenting new values and possibilities in the expression of objet works.

• Journal of the Korean Institute of Telematics and Electronics S
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• v.36S no.1
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• pp.81-92
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• 1999

In this paper, we propose a new image segmentation algorithm which can be use din object-based image coding applications such as MPGA-4. Since the conventional objet segmentation methods based on mathematical morphology tend to yield oversegmented results, they normally need a postprocess which merges small regions to obtain a larger one. To solve this oversegmentation problem, in this paper, we prosed a block-based segmentation algorithm that can identify large texture regions in the image. Also, by applying the watershed algorithm to the image blocks between the homogeneous regions, we can obtain the exact pixel-based contour. Experimental results show that the proposed algorithm yields larger segments, particularly in the textural area, and reduces the computational complexities.

• Journal of the Korea Convergence Society
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• v.8 no.3
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• pp.275-282
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• 2017

Customers who visit nail shops need creative and unique designs, but at present nail artists remain at the level of design imitation, new nail art designs should be developed to satisfy customers. Therefore, this study presented convergent nail art designs using formative art principles which are the basis of all design with the aim of contributing to creative nail art designs. For this purpose, this study investigated specialized books, Internet data and previous studies on the subject, analysed concepts and cases of formative art principles, and the concept of nail art and related expressive techniques to create six convergent nail art designs. As nail art techniques, this study used hand painting, marbling, see-through, etching, embossing, patching and objet. As a result, this study presented unique and creative nail art designs using formative art principles and found the possibility of creating new nail art designs. This study has meaning in that the results of this study are significant as basic data to enhance the design capabilities of nail artists.

• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• Cross-Cultural Studies
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• v.26
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• pp.95-121
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• 2012

Ce travail est de rechercher la vie litteraire d'Eug?ne Ionesco ? l'?poque de la Roumanie(1921~1937). Ionesco fait partie d'une cat?gorie d'?crivains(Mircea Eliade, Emil Cioran, Tristan Tzara, Pana?t Istrati, etc) qui sont n?s en Roumanie et ont commenc? leur carri?re dans leur pays d'origine pour la continuer et l'achever en France. Eugen Ionescu devient Eug?ne Ionesco. Ce dernier repr?sente d?j? dans les ann?es 30 une personnalit? hors du commun. C'est un homme qui a deux patries, deux racines : une roumaine, une autre fran?aise. Sa vie est a ?t? marqu?e par ses publications des l'adolescence. Ils font l'objet de ce livre-portrait d'Eugen Ionescu, po?te et critique, ?crivain de langue roumaine. L'?tude de la jeunesse roumaine d'Ionesco nous m?ne sur un terrain p?rilleux, celui de la biographie, plus pr?cis?ment des ann?es d'adolescence, de jeunesse et d'apprentissage d'un ?crivain qui a masqu? cette p?riode de sa vie. Nous avons pr?fer? tracer une biographie intellectuelle plutot qu'?num?rer des d?tails anecdotiques. La projection d'Ionesco dans son oeuvre est le r?cit de ses propres aventures intellectuelles. Une part importante de notre travail est consacr?e ? l'anlayse d'un livre de critique Nu(Non) de jeune Ionesco. Nous avons utilis? le texte de la version fran?aise publi?e en 1986 pour ce travail. Pour Ionescu le Roumain, le po?te Ionesco, ?l?gies pour des ?tres minuscules, nous avons consult? une th?se d'Ecaterina Cleynen-Serghieve La jeunesse litt?raire d'Eug?ne Ionesco et puis l'?tude de Gelu Ionesco sur la carri?re roumaine d'Ionesco. Nous nous sommes aussi r?f?r?s ? divers documents comme Notes et contre-notes(1966), D?couvertes(1969), Journal en miettes et Pr?sent pass?, Pass? pr?sent(Mercure de France), et les entretiens avec Claude Bonnefoy pour comprendre la personnalit? d'un jeune ?crivain roumain.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.24 no.3
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• pp.378-383
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• 2020

Viola & Jones' object detection algorithm is a very good algorithm for the face component(FC) detection, but there are still problems such as duplicate detection, false detection and non-detection due to parameter setting. This paper proposes an improved FC detection algorithm that applies the variable parameter to reduce non-detection and the verification to reduce duplicate detection and false detection to the Viola & Jones' algorithm. The proposed algorithm reduces the non-detection by changing the parameter value of the Viola & Jones' algorithm until the potential valid FCs are detected, and eliminates the duplicate detection and the false detection by using the verification that evaluates size, position, and uniqueness of the detected FCs. Simulation results show that the proposed algorithm includes valid FCs in the detected objects and then detects only the valid FCs by removing invalid FCs from them.

• International Area Studies Review
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• v.13 no.1
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• pp.341-367
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• 2009

This study is aimed to analyse the performances and market positions of Korean products at the Central and South America where recently come into the spotlight for the emerging markets with FTA. The main problems were not the communication or geographical distance but the faint Central and South American specific support of the government and indifferent market approaching concepts. New cultural merchandising approach, Korean enterprise can maintain the competitive advantage against with chinese low products which is main opponent in this market. In order to achieve the close cultural approach, Korean enterprise should use the 'elite groups' in the Central and South america whom are multi cultural leaders in there and also needs to use the Korean CQO merchandisers in the Central and South America. And the new FTA with rest of countries in the Central and South America more aggressively will be the inmost objet of maintaining competitive advantage and we could change the concept of the this market from 'big indifferent market' to 'strategic market' as a hopeful market for achieve the diversification of export.

• Journal of English Language & Literature
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• v.58 no.4
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• pp.565-588
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• 2012

This paper aims at reconsidering 'suture,' a key concept in early Lacanian film criticism, with a view to narrowing a supposed gap between early Lacanian and later Lacanian film criticism. Early Lacanian film theorists, among whom Jean-Pierre Oudart, Jean-Louis Baudry, Laura Mulvey and Daniel Dayan, to name a few, are prominent, focus on cinematic signifying system as well as its ideological effects on shaping subjectivity of the audience. Initiated by Jacques-Alain Miller's article on suture as the logic of signifier and grafted into film as the logic of the cinematic by Oudart's writing, the concept of suture was established as a key word in early Lacanian film criticism. In their taxonomy, suture refers to the processes by which the audience are stitched into the story-world of a film. The audience are drawn into the film and take up positions as subjects-within-the-film such that they make sense of and respond to what the film represents as they are encouraged to do so by the film itself. On the other hand, later Lacanian film critics, who are much influenced by Lacan's later emphasis on the Real, focus on concepts such as gaze, petit objet a, fantasy, rather than suture. They are more concerned with the failure of suture and the disruption of the Symbolic than the ideological effects of suture and the consolidation of the Symbolic. They require a break from the previous approach of Lacanian film theory which centers around the Imaginary and the Symbolic. However, early Lacanian and later Lacanian film theory do not manifest as much disparity as they are supposed to do, for both are against the ideological manipulation of suture. Slavoj Žižek, a leading scholar of later Lacanian psychoanalysis, revives the concept of suture as a patch of the Symbolic which covers the gap, if not always successful.