• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.173-180
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• 2009

In the recent past, the impression expressed by a human body expanded from that of aesthetic beauty to deformed organic medium influenced by environment. And the advancement in digital technology had made it possible to represent the deformed and distorted images of human body more realistically. Consequentially, these exaggerated physical images leave audiences with a feeling of grotesqueness. Chris Cunningham is a British director who mainly focuses on grotesque body as his subject matter using digital media. This paper will explore Chris Cunningham's work and his final goal through analyzing his carnivorous, uncanny grotesque body images, making use of the figital media, at each of his different levels.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.255-266
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• 2019

This paper examines the ink on paper technique that is being used in the animation works by the Canadian filmmaker Michēle Cournoyner from the National Film Board of Canada. It also discusses how in her animated film "Soif"(2013) this technique has been applied to compose the narrative significance and symbols through the use of metamorphosis as a form of artistic expression. Cournoyner had used the ink of paper technique as a means to abandon realistic representations of movement, and in "Soif" through expressive use of metamorphosis, portrayed changes of images in character and object not through chronological order of narrative flow, but through the body of the female character, which had been represented by the improvisation of the ink on paper technique in order to express the surrealistic and unconscious state of mind in animation. Also, the use of Surrealist automatism had been incorporated to evoke the film towards a form of abstract and metaphysical expression, which in terms of expression and technique connects with the character in the animation to give emphasis to its relevancy with the subject matter of the work.

• Architectural research
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• v.15 no.2
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• pp.87-94
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• 2013

Throughout the history of architecture, sometimes the main focus of design was determined by a particular visual representation method, and other times a particular form of visual representation method was required by perception of a particular architectural issue or an architectural form or idea. That is why the visual representation method of architects becomes an important means of reading the flow of idea and thinking behind architecture. This study is an investigation on the relation between architectural thinking and visual representation method expressed through the conceptual drawings by avant-garde architects of the 1970s and 80s, a period of the emergence of postmodernism. Rather than proving the objective reality regarded important by traditional architectural drawing, attempts are made to express the design concept in which the project has its base. Such interpretation and explanation regarding the concept become the main interest of the drawing. It is not that the architecture itself was not expressed in the contents, but it may not be the main subject of expression in the drawing. The value of architectural drawing recovers its value as an art work in itself, as a means of communication, and as an important conceptual tool in the design process. It can be seen that the visual representation method in postmodern architectural drawings is breaking free of the traditional objective depiction of matter and is changing and developing as a design tool of the architect.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.73-85
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• 2001

The human body is a subject to represent one's thoughts and feelings more easily. Historically, the women's body has become a implement to express an ideal of beauty with the changes of the times and it has created some ideal boy by various means.We have been influenced consciously or unconsciously by the ideal body made artificially. As fashion dolls and mannequins came out with various style in he 19th century, the fashion and the ideal body of those days were expressed completely. In the 20th century, it took as a matter of course that commercialization of fashion made persue the ideal body, so mannequin as a transmitter of esthetic presentation were used to express the ideal body. Mannequin is a implement to express an ideal body of that times, because mannequin, when it is made, is exactly embodied fashionable images of that times which include a ratio of the human bodys curve, a pose, an ample bosom, a fashionable dress and so on. This study considers changes of the ideal body and the fashionable clothes in each generation from the 1920's to the present time, and, on the basis of this, the correlation of the ideal body with the form of mannequins. And this study examines what kind of mannequins, that is, realistic mannequin, sculpture mannequin, and abstract mannequin.

• Journal of Information Science Theory and Practice
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• v.11 no.2
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• pp.1-11
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• 2023

Libraries are still conservative in their approach or practice of providing various services for the unspecified majority of visitors attending these institutions. It is very apparent that libraries are not actively trying to increase the interest and participation of users by applying the various angles or elements associated with gamification. By its very nature, gamification is the application of game-playing elements such as point scoring, peer competition, team work, score tables, and such used to motivate participants and make them more engaged with the subject matter. In areas such as education, marketing, and exercise, the implementation of gamification techniques is actively taking place in order to maximum participation by taking advantage of uncertainties or the competitive nature that many people have with the setting of goals. In this study, four libraries that have applied gamification are analyzed to understand how and to what degree gamification has been applied. Broken down into four different elements, this includes: Point, Reward, Leaderboards & Competition, Self-expression & Achievement. By focusing on the results of this analysis, gamification measures that can be applied to other libraries are specifically proposed. The overall results of this study will provide useful guidance and potential plans for libraries seeking to increase the number of users by using gamification to increase user participation and/or satisfaction with additional library services.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.13
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• pp.411-437
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• 2000

It is unsafe to attempt a complete definition of the expression 'perils of the seas', because in practice the question 'what is a peril of the seas' is inextricably woven up with the further question, 'was the loss proximately caused by the sea peril ?' Such casualties as stranding, collision and heavy weather appear with monotonous regularity in the daily reports, and are the obvious examples. However, what can be included in the term 'perils of the seas' seems to be inexhaustible, although most circumstances appear to have been covered by the Courts. Two cases heard in 1887 were instrumental in defining perils of the seas. In The Xantho Lord Herschell made the following remarks: "The term ... does not cover every accidents or casualty which may happen to the subject matter of insurance on the sea. It must be a peril 'of' the sea. Not every loss or damage of which the sea is the immediate cause is covered by these words. They do not protect, for example, against that natural and inevitable action of the winds and waves which results in what may be described as wear and tear. There must be some casualty, something which could not be foreseen as one of the necessary incidents of the adventure. The purpose of the policy is to secure an indemnity against accidents which may happen, not against events which must happen. ... If a vessel strikes upon a sunken rock in fair weather and sinks, this is a loss by perils of the sea."

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.75-85
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• 2005

The 1990s' characteristics of Ecological architectural design would be choosing the traditional materials of the region's, the creative usage of construction methods, the expressive properties of materiality in spatial forms and so on. The overall organic relationships between human and men-made environments have been sublimated by the expression of poetic qualities of perception in ecological man-made environment. Hannover Expo 2000 did set up an opportunity to exposure the fact that Ecological Architecture will be the major trend in 21st Century's Architecture and its exploration in possible ways will be the most important matter. Japanese Architect Shigeru Ban's Japan Pavilion in this Exposition has shown the meaning of this turning point in Ecological Architectural thinking, which would be recognized as the convincing possibilities for the future architectural practice to the public. Thus this research has the purpose to study the meaning of the constructing action in Shigeru Ban's recent architectural space-making practice with the Paper Tube structural system. The creative foundation of Shigeru Ban's own method to apply paper tube -that is impossible material to pre-estimate- and other materials in the creation of architectural spaces would be searched in this paper. The period to this research will be between 1990s and 2000s, and the subject will be the experimental architecture of Shigeru Ban. The range of this research Is including the process of development in the paper tube architectural structure and joint system. This study would contribute to understand the intrinsic value of Shigeru Ban's Ecological architecture of the paper tube system, in which the relationship between the regional environment and human regaining the ecological abiogenesis.

• Archives of design research
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• v.11 no.1
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• pp.53-62
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• 1998

The development of communication technology applying the computer has generalized the application of Computer Graphics and enlarged the limit of expression in Design environment. Therefore, the technology and the method of CG application, which can be applied in diverse Design areas appropriately, are closely connected with the results of Design, and these are becoming the important matter of the competitiveness for Designer and Design environment. Especially, in the curriculum of university or college having the responsibility for specialities of students, the contents about CG application are being more needed the educational results having the competitiveness. By this meaning, this study presents the methodological approach for the CG applied education concerned with the subject "Computer Aided Design (for Product Design)" which is opened in the Industrial Design Dept. The contents of this study are about the concepts of the 10 steps of design practice and the methods of them which are based on the contents of expression on Product Design. And it presents the results of practice by students as the examples. The result of this study is that students could understand the product Design and CG, and they could learn the CG programs' functions and the methods for the application.plication.

• Trans-
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• v.2
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• pp.191-210
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• 2017

The purpose of this study is verifying whether convergence does its role as a transfer medium in dance expression or not, finding the effect of convergence characteristics and confirming whether it would bring change and new creation in performance art or not. This study suggests that studies on convergence in dance are required in accordance with the trend of time. This study believes that convergence is a modern art expression method, which can maximize the artistic expression in dance work and it will play an important role in the advance of dance works. There are ongoing studies on convergence art genre by many creators; however, still academic study this matter is not sufficient. Therefore, it is believed that more studies on convergence genre from the viewpoint of human studies are required. Accordingly, this study took Blush, the dance art works of Wim Vandekeybus, as the subject of study because convergence is clearly visible in these works. It is possible to draw convergence from these works because the works attempt new creation and utilize image by accommodating other genre art in dance art. The convergence in these works maximizes the originality of choreography and expands the time and space of stage through various effects. In other words, it is possible to see that Wim Vandekeybus is doing new attempts in his dance works by experimental elements, which escaped from simple movement, and convergence appears in the works.