• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.39-47
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• 2007

In comtemporary interior design, hybrid form causes cognitive turnovers of aesthetics. Especially it offers much possibility to expression techniques in interior design and works as compound system, symbolic aggregate that makes and expands various meanings. The aesthetic ideology of hybrid design can be interpreted through the philosphic concept of art, sublime, reception, representation and explains expression techniques and characteristic in interior design through various transformation and meaning conversion. The expression techinique that is a form of openness, transcendental interpretation that exceed a dupilicate of meaning. can be classified as oxymoron, defamiliarization and interface. The characteristic that is based on those expressions appears as use of complex codes of visual images, decoding strategy, intertextuality of meaning. This research attitude can explain the thinking method of interior design by defining the epistemological scheme that is basically involved in expressional styles with characteristics of hybrid aesthetics. In order to be recognized as the object of aesthetics, hybrid has to be approached by interpretational methods of expression techniques. Consequently the characters of expression techniques in hybrid design can be investigated as one of the methodology in interior design plan.

• International Journal of Costume and Fashion
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• v.4
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• pp.47-61
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• 2004

This study analyzed the buying patterns of American and Korean female college students in terms of criteria for clothing selection； store preferences； criteria for store selection； fashion information sources； expressions of customer dissatisfaction； purchasing frequency and motivations for purchasing clothes. The study was implemented through self-administered questionnaires which were back translated for validity. The samples consisted of 730 female college students majoring in the fields related to clothing and textiles： 310 U.S. and 412 Korean students. Likert scales were used for most measures with 1＝never or very unimportant and 5＝always or very important. Data were analyzed by factor analysis, analysis of covariance, Duncans multiple comparison, and t-test. Results are as follows： 1) Design factor was the most important criteria in clothing selection with no differences between country groups. There were, however, significant differences for psychological exhibition factors, practical and economic factors. 2) Both groups preferred specialty and department stores, with department stores more popular in Korea. 3) Merchandise was the most important store selection criterion and fashion magazines and self-experience were rated as the most important information sources for the both groups. 4) Korean group expressed their dissatisfaction with and observable problem with a product before purchase more often than U.S. group, but the U.S. group was more vocal about color loss or shrinkage after care procedures. 5) Some clear differences between the two countries emerged. Marketers targeting American consumers should pay more attention to practicality and service； to Korean consumers more symbolic meaning of products.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.3-11
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• 2005

With development of digital technology and build-up of global network in the 21st century, Korea has recklessly accepted Western information and culture in recent years, thus causing damages to out identity. In the situation, restoration and development of traditions in a modern way will contribute to the creation of contemporary interiors. This study has analyzed and assessed the process through which traditional decorative elements have applied to contemporary interior decorations over the past ten years with a view to identify the trend of expressing traditional elements in comtemporary interiors. Designs that have applied traditional elements in a transfigure expression method amounted to 77 pieces, accounting for $43\%$ of the total investigated 178 designs, which was followed by 48 designs ($27\%$) of metaphor expression method and 39 designs ($22\%$) of symbol expression method, which express the tradition as interpreted by the designer. Designs that have adopted direct expression method amounted to no more than 14 pieces, accounting only for $8\%$ of the total designs. This result suggests that transformative, metaphoric and symbolic expressions that simplify or transform the original forms we more frequently used In the applications of traditional elements to modern interiors rather than directive expression that reproduces the original form as it was.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.165-174
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• 2006

Birdwhistell explains in the whole communication, language conveys only 35% of the meaning and the rest 65% is conveyed by non-linguistic media. Humans do not entirely depend on linguistic communication, but are sensitive being, using every sense of theirs. Human communication, by using facial expression, gesture as well as language, is able to convey more concrete meaning. Especially, facial expression is a many-sided message system, which delivers Individual Personality, interest, information about response and emotional status, and can be said as powerful communication tool. Though being able to be changed according to various expressive techniques and degree and quality of expression, the symbolic sign of facial expression is characterized by generalized qualify. Animation characters, as roles in story, have vitality by emotional expression of which mental world and psychological status can reveal and read naturally on their actions or facial expressions.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1208-1218
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• 2003

The purpose of this study is to examine the expressional characteristics and effects of Diabolism image that appeared in fashion illustration. The concept of evil from ancient times is arranged with more basic pain, unhappiness, breakdown, fear, ignorance, sadness, imperfection, death, disease, and ugliness than it can be understandable in modern society. However, as the concept of evil is included in sacred ground of art and is begun to understand by the ugliness of broad sense, the evil and ugliness were recognized as subordinate concepts which fertilizing beauty. Also, image characteristics of Diabolism in pop culture are taking charge roles that remove visual discordance to decadent and mysterious beauty and trying to find new beauty by presentation of bad-tasted style. The aesthetic and expressional characteristics of Diabolism in modem visual media have something in common which is classified into five shapes: Negative image, Symbolic line and color, Transformation, Devilish shape, and Fantastic image. The Diabolism expressions in fashion illustration since 1980 show the possibility of image expression as a new technical field because they differ from existing expression methods and viewpoints of beauty. Therefore, the practical use of devilish image to express excessive aesthetic sense can expand the extent of image expression.

• Journal of Fashion Business
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• v.1 no.4
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• pp.34-48
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• 1997

Dresses of the 1950s and 60s when the range and changes of fashion were wide and heavy were closely related with various styles of that time's architecture from the form, use of material, structure to the color. In this, study, characteristics of formalism and brutalism, main architectural streams of that period, such as line, structure, function, material, texture and color are analyzed in detail and these characteristics and those of dress are compared and analyzed to see if there are common aesthetic senses between them. It is particularly noteworthy that at that time formalistic architecture represented joy and abundance through enriched creation of appearance and flowing, symbolic linear beauty while the brutalistic produced young and vivid liveliness through functional, reasonable and moderate beauty, and this young and joyful atmosphere coincided exactly with frank, lively aesthetic senses of the young generation's fashion. Therefore, we can see common significance in the following fact ; architectural modes and fashion art of the 1950s and 60s were the result of more humane and enriched expressions from economical growth, and also product of that time's desire to adapt itself realistically to the rapid, complicated pop culture resulted from mass production.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.39-46
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• 2008

This paper is a research about the expression and characteristics of sense space by a phenomenological approach through body from an anthropocentric point of view. The phenomenological expression elements of sense space have been abstracted by putting the characteristics of body perception into shape through the phenomenological approach. This research aims to provide the expression and characteristics of sense space that can be applied by phenomenological elements of emotional expression, and analyze their application level by phenomenological body perception in space through corresponding examples. As a result of this research, the expressions of sense space approach - such as migration of moving lines, reiteration and segmentation of region, spatial flexibility, transferal of sense, stimulation of combined senses, symbolic abstraction of memory, perception of environment and space, time by light, phenomenal water space, time expression by surrounding environments etc. - and the characteristics of sense space according to each expression have been obtained through the phenomenological expression elements in sense space such as expansive perception by consecutive scenes, spatial and sensory experience, embodiment of place, phenomenal change by time. It aims to grope for a new approach and possibility to the embodiment and expression of sense space through the expression of sense space approach based on the phenomenological body perception.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.631-655
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• 2022

Modern Hanbok tends to use new colors based on traditional colors and their symbolic meanings. In addition to the traditional colors, various expressions have been increased, it is necessary to consider the color and color trend used in modern clothing. This study focused on the period 2011 - 2020 and analyzed the main color and coloring method of top and skirt by year with 450 data from a total of 81 wedding magazines. The results of examining the characteristics of traditional colors during the target period are as follows. First, the main color of the Jeogori showed a distribution of various colors in the first half, but the main color of the skirt concentrated on black, white and light pink in the second half. Second, while the use of blue and green systems decreased, Dang-ui color changed to warm yellow, green, and red systems. The Baeja used plain dark white in the first half; however in the latter half, they changed to white or accented colors. The one-piece used various colors in the first half, but only black and white appeared in the second half. Third, in the upper and lower colors of Hanbok, the blue-red color, the traditional contrast color of the first half, decreased significantly in the second half. The appearance rate of proximity for the complementary color harmony of white-red color and the adjacent color harmony of white-blue increased.

• Annual Conference on Human and Language Technology
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• 2020.10a
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• pp.529-534
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• 2020

인공신경망 기반 기계번역(Neural Machine Translation, NMT)이란 딥러닝(Deep learning)을 이용하여 출발 언어의 문장을 도착 언어 문장으로 번역해주는 시스템을 일컫는다. NMT는 종단간 학습(end-to-end learning)을 이용하여 기존 기계번역 방법론의 성능을 앞지르며 기계번역의 주요 방법론으로 자리잡게 됐다. 이러한 발전에도 불구하고 여전히 개체(entity), 또는 전문 용어(terminological expressions)의 번역은 미해결 과제로 남아있다. 개체나 전문 용어는 대부분 명사로 구성되는데 문장 내 명사는 주체, 객체 등의 역할을 하는 중요한 요소이므로 이들의 정확한 번역이 문장 전체의 번역 성능 향상으로 이어질 수 있다. 따라서 본 논문에서는 지식그래프(Knowledge Graph)를 이용하여 심볼릭 지식을 NMT와 결합한 뉴럴심볼릭 방법론을 제안한다. 또한 지식그래프를 활용하여 NMT의 성능을 높인 선행 연구 방법론을 한영 기계번역에 이용할 수 있도록 구조를 설계한다.

• Journal of Fashion Business
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• v.28 no.3
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• pp.104-121
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• 2024

This study examined the integration of futurist fashion in 4th-generation K-pop girl groups, focusing on their world views, music videos, and fashion images. The key aim was to identify and analyze distinctive elements of futurist fashion within K-pop. K-pop's global popularity is driven by dynamic music, choreography, and avant-garde fashion. Futurism, an art movement emphasizing technology and innovation, continues to influence contemporary fashion trends in K-pop. This study seeks to provide insights into symbolic meanings and expressions of futurist fashion in 4th generation K-pop girl groups. Groups such as Gidle, Aespa, IVE, LE SSERAFIM, and New Jeans were analyzed. Data were collected from their music videos, lyrics, and costumes, focusing on silhouette, color, material, and pattern. This study highlights the significant role of futurist fashion in K-pop, showing how 4th-generation girl groups lead in integrating these elements. This research provides valuable insights for understanding and further exploring the evolution of K-pop fashion.