• 한국실내디자인학회논문집
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• 제13권3호
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• pp.84-92
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• 한국도서관정보학회지
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• 제43권1호
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• pp.399-415
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• 2012

"기묘사마동년계첩(己卯司馬同年契帖)"은 1639년 사마시(司馬試)에 합격한 동기생들이 계회를 연 후 이를 기념하기 위하여 만든 것이다. 본 연구는 "기묘사마동년계첩(己卯司馬同年契帖)"의 형태적 특징과 계첩에 수록된 <계회도(契會圖)>, <좌목(座目)>, <서문(序文)>, <계회시(契會詩)> 등을 분석하여 <계회도(契會圖)>에 있는 인물과 계회(契會)의 사실, 계첩의 제작과 의의 등에 관해 종합적으로 밝혀보고자 하였다. 연구 결과, 본 계첩은 이전의 계회도(契會圖)와 다른 형태적 특징을 갖고 있으며, 1639년 사마시(司馬試)에 합격한 동기생 4명 가운데 치곡(治谷) 최상호(崔尙虎), 감호(甘湖) 김정화(金鼎華), 덕곡(德谷) 홍종운(洪鐘韻) 등 3명이 1656년 가을 영암 월출산에서 계회를 연 후, 전라도 강진의 전라병영에 소속된 화원에게 명하여 계첩 4부를 제작하고 간직하여, 후손들이 서로 각별한 인연을 계속 이어 나가도록 하기 위해 계첩을 제작하였음이 밝혀졌다.

• 한국정보과학회논문지:시스템및이론
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• 제36권3호
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• pp.199-209
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• 2009

본 논문은 세일리언시 밀도에 기반한 스트로크의 단계별 세부묘사(Level of Detail:LOD) 표현 알고리즘을 제안한다. 회화적 렌더링에서 스트로크 LOD는 주된 대상에 대한 관찰자의 시선을 집중시키며 표현의 정확성을 높일 수 있는 장점을 가진다. 이를 위해 세밀하게 묘사된 부분과 추상적 묘사가 될 영역을 구분할 필요가 있다. 본 논문에서는 세일리언시 분포를 기준으로 공간 분할 후, 그 데이터에 기반하여 세밀한 표현의 정도를 제어한다. 세일리언시 분포가 높은 영역은 작가가 표현하고자 하는 주된 대상으로 가정하여 세밀한 묘사가 되도록 하며 밀도가 낮은 영역은 상대적으로 추상적인 표현을 한다. 우리의 알고리즘을 통해 쉽고 명확하게 스트로크 LOD를 제어, 표현 할 수 있다.

• 한국농촌건축학회논문집
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• 제20권3호
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• pp.11-18
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• 2018

Suhwa Kim Hwan-gi established his own unique world of art based on Korean-style lyricism with his sophisticated and sublimated formative language as the first generation of Korean abstract artist. He made his name known not only in Korea but New York and Paris, the center of contemporary art. Presently, there is almost no material left for us to examine how Kim Hwan-gi's house looked in the first place. But there is a painting that chef Kim Am-gi possesses where we can find the image of painter Kim Hwan-gi's house drawn by recalling the memories at home in a far-off land. With that, we can see it should be the original looks of that house. To examine the original looks of Kim Hwan-gi's house when it was built, this author studied the closure land registration map. By analyzing 29 land registration maps around Eupdong-ri of Gijwa-myeon in Muan-gun of Jeollanam-do produced in 1917 which National Archives of Korea possesses, this researcher could figure out the status of land registration around Kim Hwan-gi's house with No. 15 and 22 drawing boards. According to the results of considering aerial photographs after the emancipation that National Geographic Information Institute possesses, this author has found that the arrangement of Kim Hwan-gi's house was changed from 1954 up to 2008. In 1954 aerophotos, we can see the main building and studio in Kim Hwan-gi's house and there was an additional structure between them. Kim Hwan-gi's house was built before 1925. The main building presently designated as a cultural asset and also the sarangchae arranged in the east and the studio, too, were built in the similar period.

• 한국의상디자인학회지
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• 제10권1호
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• 산업융합연구
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• 제17권4호
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• pp.15-20
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• 2019

증강현실은 카메라에 보인 현재 모습에, 중첩된 대상의 정보를 인지하는 방식으로 문화, 교육, 군사, 의료 등 다양한 분야에서 그 콘텐츠가 활용되고 있다. 특히 전시나 어린이 교육 콘텐츠는 이미 다양한 방식으로 제작되고 있다. 이러한 증강현실을 활용하여 문화재를 가상으로 구현하고 정보를 전달하는 콘텐츠를 개발하였다. '갈기비AR'과 '장영실의 발명품AR'을 통해 접근하기 어려운 문화재를 눈앞 가까이에서 경험 하도록 해준다. '갈기비AR'은 3D 블록 형태로 체험 콘텐츠를 제공함으로서 문화재 구조에 대해 손쉽게 알 수 있도록 한다. '장영실의 발명품AR'은 물체를 확대, 축소, 회전하며 함께 사진을 찍어 문화재를 보다 밀접하게 살펴볼 수 있도록 하였다. 바닥면을 인식하는 ARCore로 '갈기비 AR'는 증강된 화면 속에 비석을 위치하여 블록을 할 수 있게 한다. 측우기, 해시계, 물시계, 앙부일구를 손앞에 바로 보는 것과 같이 구현하여 체험자에게 사실감을 더 주고자 하였다. 문화재를 널리 알리기 위한 콘텐츠이며 문화재의 체험 콘텐츠를 통해 문화유산의 향유를 증대하고자 한다. 문화재 정보가 대중적으로 확산할 수 있도록 하는 데 제작되는 콘텐츠 기획에 도움이 되는 연구 자료이길 기대한다.

• Journal of Yeungnam Medical Science
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• 제27권1호
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• pp.57-62
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• 2010

Pulmonary alveolar proteinosis (PAP) is a rare disorder that's characterized by accumulation of surfactant components in the alveolar space. Idiopathic PAP is recognized as an autoimmune disease that's due to impaired alveolar macrophage function and this caused by autoantibodies against granulocyte-macrophage colony-stimulating factor (GM-CSF). We report here a case of pulmonary alveolar proteinosis that was deemed interstitial lung disease at the initial diagnosis. A 61-year-old man presented with intermittent blood tinged sputum and dyspnea on exertion. The man was a painter for 30 years and he had a 10 pack-years smoking history. Chest computerized tomography (CT) revealed multifocal ground-glass opacity with interstitial thickening at both lungs. His pulmonary function tests and methacholine test revealed non specific results. He was diagnosed with interstitial lung disease on the basis of the chest CT finding and occupational history. However, seven months later, his symptoms progressed. Follow-up chest CT was performed. Wedge resection via video-assisted thoracoscopic surgery (the anterior basal segment of the left lower lobe) was done. Microscopic examination showed large groups of alveoli with excessive amounts of surfactant and a complex mixture of protein and lipid (fat) molecules. Finally, he was diagnosed as having pulmonary alveolar proteinosis.

• 미술이론과 현장
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• 제13호
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• 한국도서관정보학회지
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• 제46권2호
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• pp.203-225
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• 2015

이 연구는 지역기록을 활용하여 로컬리티를 새롭게 형성한 일본의 다테야마를 방문하여 이 운동을 주도한 아이자와 교수의 안내를 받아 현장을 답사하며 설명을 듣고 관찰하고, 관련 자료를 통해 연구를 진행하였다. 지역 기록을 활용하여 로컬리티를 형성한 사례로 사면석탑에 새겨진 나무아미타불을 통해 <아시아와 우정을 나누는 평화의 도시>, 아오키 시게루가 "바다의 선물[海の幸]"을 그린 장소가 다테야마임에 착안하여 <화가가 사랑했던 예술의 도시>라는 로컬리티를 형성하고 있었다. 유적의 기록화를 통해 로컬리티를 재구성한 사례는 다음과 같다. 사라질 위기에 처한 사토미성이 유명한 대하전기소설인 "사토미 팔견전"의 무대임을 밝혀서 유적지로 지정 보존하고, 잊혔던 태평양 전쟁의 유적을 발굴 연구하여 평화학습을 위한 체험공간으로 활용하며, <평화의 도시>라는 긍정적이고 미래지향적인 로컬리티로 재구성하고 있었다.

• 복식
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• 제61권6호
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• pp.113-130
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• 2011

Post-Modern Multiculturalism is spreading in many ways and other cultural interest has led to the Latin American culture, which has steadily appeared as the main fashion concept of the international collection. Frida Kahlo(1907-1954), a representative of Latin American culture and a Mexican female surrealistic painter, who gives us some inspiration for contemporary fashion design. The purpose of this study is to have a correct understanding of and research on Latin American culture and to expand the expression of fashion design. In the process, this article examines the costume of Mexico belong to the Indio culture which had been regarded as the Other for a long time and understands Frida Kahlo's fashion style: Tehuanas costume and her masculine style. The Tehuanas costume is a traditional style of the city, Tehuantepec, located in the southeast of Mexico, which is characterized by colorful floral patterns and a long skirt. Three fashion concepts were derived from her fashion style: tradition & modern, love & farewell, and masculine & feminine. The scope of this study investigates the Haute Couture and the Pret-a-porter women's wear collections and photos from 1998 to 2010 in Europe, USA and South America. From classifying the collected photos into each concept, three styles such as ethnic, romantic and androgynous style were derived. These fashion styles were analyzed through the formative elements of dress, color, silhouette, pattern, material and clothing construction in order to figure out how costumes of other cultures influenced on contemporary fashion. As a design inspiration, Frida Kahlo extends her influence into innerwear, accessories and hairstyles, as well as women's wear. These inspirations emerge steadily from the past and far into the future as an expression of a fashion design concept.