• 한국인터넷방송통신학회논문지
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• 제23권6호
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• pp.103-108
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• 2023

아날로그 자연사 표본정보 전달의 한계점을 디지털 형태의 정보로 전달하여 관람자에게 흥미와 재미를 부여하고 표본전시활용의 디지털 디오라마 활용방안에 대한 방향성을 제시한다. 이번전시는 일만원권 지폐 드라마, 신문기사등 각종 매체를 통해 대중에게 친숙한 그림인 일월오봉도를 직접 현실에서 실감할수 있도록 미디어아트로 재현하였다. 해, 달 다섯 개의 산봉우리, 한쌍의 폭포, 그리고 네그루의 소나무등이 좌우대칭으로 그려져 있는 조선시대 작품이다. 자연의 생동감으로 표현하기 위해 해와 달의 상징을 빛의효과등으로 연출하여 몰입도를 극대화하고 산봉우리 아래에는 파도의 출렁임, 두루미 움직임, 사슴, 모시나비, 잉어등 동물을 새로 삽입하고 행동을 부여하여 자연과 그 속에 뛰어노는 생물의 생동감을 연출하고 미디어아트 병풍을 스크린으로 제작하여 연출하였다. 또한 작품소개 및 작품속 생물 관련 정보는 QR 코드를 통해 제공하였다. 결론으로 관람자에게 기존 아날로그 표본 전시의 정보전달 단점을 2D, 3D디지털 형태의 표본 전시효과 및 관람자에게 일월오봉도의 왕권의 상징성을 미디어아트로 표현하고 자연사 콘텐츠와 결합하여 예술과 자연사의 만남을 연출하였다.

• 한국가구학회지
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• 제27권3호
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• pp.175-184
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• 2016

Art Furniture is a terminology of creative and developed activity related Art in the field of furniture design. In a broad sense, the extent of Art furniture reaches from humanities to technology because Art includes them. Due to Postmodernism, designers who were involving Art furniture started to fuse various studies including high technology to achieve their own goals. To illustrate with the characteristic of high technology, I compare between low technology and high technology. Even though high technology are used both commercial furniture and Art furniture, the latter has been utilized high technology in a more creative and experimental way to develop experimental furniture design. In contrast, in order to earn economic profit, there is no unnecessary risk for commercial furniture. Considering information revolution which is deeply related with high technology, Art furniture designers could get information easily about other fields and make multiple connections of different kinds of people and markets. As a result, a combination between Art furniture and high technology has distinctive features. At first, high technology was applied to craft among Dutch furniture designers. After that, designers began to lay out the method of high technology and pushed the boundary of Art furniture thanks to experts and scientists. In addition, there was a designer who have conducted a series of research as a scientist adopting scientific methodology. In doing so, Joris Laarman could obtain a revolutionized work which could contribute society. In conclusion, combining Art furniture and high technology leads the definition of design from deciding physical shapes to directing and organizing processes.

• 미술이론과 현장
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• 제16호
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• pp.41-69
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• 2013

The inauguration of the collective Reality and Utterance (Hy$\breve{o}$nsil kwa Par$\breve{o}$n) in 1979 and 1980 marked a watershed moment in Korean art. This is not only because the collective gave birth to the politically-engaged art movement that would come to be labeled "Minjung Art" by the middle of the 80s, but also because it enthusiastically embraced a wide range of images from the urban culture. With a special focus on the members' early work, my research explores an issue largely neglected in the dominant narrative of Minjung art as a form of activism against the authoritarian Korean government during the 80s. The issue is what was at stake in Reality and Utterance's exploration of contemporary urban visual culture. The aim of this essay is to recognize the engagement with the urban visual culture as central to the group's early project and to consider it at some distance from the anti-urban and anti-mass culture perspective which was endorsed by the Minjung narrative. Focusing on members' turn to urban visual culture, this essay instead argues that this turn was by no means merely a means to making art as social critique, but more importantly, it was an experiment with the shared image world, as opposed to the rarefied visual vocabularies of abstract modernism. Visual productions such as advertisements, billboards, posters, and kitsch paintings, which come from outside the narrow confines of fine art, were definitely ominous signs of the colonization of everyday life in the capitalist city, but at the same time they were anticipated to be a catalyst for redefining Korean art in a more communicative, accessible, and democratized way. In this regard, in the early 1980s-in particular 1980 and 1982-the members' gesture oscillated between critique and embrace, which allowed the group to occupy a unique domain in the realm of Korean art production.

• 한국식생활문화학회지
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• 제11권2호
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• pp.169-178
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• 1996

The purpose of this study was to get an information on hotel cook. So the food and beverage (F and B) enterprise is one of the most promising industry on post-industry society, and the cook is real agent to lead the F and B enterprise, we need to have a data, information and knowledge on cook to improve a culinary art training program and working environment. This study was surveyed by 216 cook to work for deluxe hotels at Pusan. The results were summarized as follows: 1. The almost cook worked with restaurant for $8{\sim}9$ hours/day, and a half of cook earned a million won in a month. A higher grade cook worked longer hours and earned more money than a lower grade one. 2. The most popular workplace of the cook was Western restaurant, the male cook working at a Western restaurant were more than female, the more female cook and novices worked at a Korean restaurant. 3. The most popular qualification that the cook take were a western culinary art one, and next were Korean one and Japanese one. The 77.8% cook worked at the place that fitted in with their culinary art qulification. 4. A half of cook insisted that they were a expert of western culinary art, and the next was the Korean, Japanese one in order. 5. The cook were unsatisfied with pay, work environment, human relation and promotion, and if they change their workplace, a lot of cook wished to manage their own restaurant. 6. The 63.4% of cook changed their workplace more than a time. The male cook got a more chance to change workplace than female one. The higher grade cook got a more chance to charge workplace. Almost cook got a no chance to study a culinary art at overseas. The most favorite place that the cook want to visit for studying was Europe, and next were Japan, America, Southeast Asia in order.

• 대한건축학회논문집:계획계
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• 제34권2호
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• pp.95-106
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• 2018

This study aimed at revaluating Frank Gehry's freeform constructions. To this end, the study analyzed the way the space composition and circulation system of general constructions are connected with newly extended parts in the Art Gallery of Ontario and, based on this, comparatively analyzed freeform constructions before and after the art gallery, finding out what changes were made in the exterior and interior spaces of freeform constructions built after the art gallery. The results of the study are as follows. First, starting from extending the Art Gallery of Ontario, Gehry came to use glass instead of metal as main material of freeform constructions. In order to create the circulation connecting the existing building and the extended mass, Gehry applied continuing circulation for the first time to the gallery. Third, in addition to design motives, such as the woodblock print depicting a carp by Hiroshige, still life depicting a glass bottle by Morandi and the crease of the shawl in Vermeer's paintings, which Gehry applied to freeform constructions, the design motif which was recently acquired from Pyrenees rock was added. Fourth, the trend of mall construction appeared before and after the Art Gallery of Ontario. Finally, Gary used the shape of fish as a design motif for his work at an important turning point in his Freeform Architecture.

• 한국의류학회지
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• 제17권1호
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• pp.89-101
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• 1993

The Russian revolution and the successive "art into production" atmosphere provided a unique model of a strict inter-relation between social process and innovative process in the taste. Influenced by CUBISM, RAYONISM and SUPREMATISM emerged in Russia around the time of Russian revolution and gave way to CONSTRUCTIVISM, based on Tatlin's theory, which played a vital role to combine art with social committment. One of the first question to be established after the revolution was the function of art within the new society. First, it should be propagandistic and empahsise the benefit of the new state. Secondly, art could take on an affirmatory role putting foward ideal views of the society as example to be disscussed and followed. Thirdly, the Constructivists' view, "Death to Art" was their slogan. Their view was that the artists' work in the new society was to be based on the material value and beauty in fuction as this alone could be consistent with the aesthetics of Marx and Lenin. It sould be pointed out that among the various applied arts, textiles and clothing design were considered one of the most important role in propaganda and in support of the new socialst ideas. Traditionl handicrafts provided a repository of popular images and folk art continued to assert an influence on the textiles and clothing design after the revolution. Constructivists, such as Stepanova and Popova, went to the factory as direct answer to the invitation for the art-industry rapport. Thematic or propagandistic designs were directly connected to the daily life and national transformation.

• International Journal of Computer Science & Network Security
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• 제22권5호
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• pp.39-48
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• 2022

The main purpose of the work is to analyze modern innovative educational practices in the field of culture and art and their effectiveness in the context of the spread of digitalization trends. The study used general scientific theoretical methods of analysis, synthesis, analogy, comparative, induction, deduction, reductionism, and a number of others, allowing you to fully understand the pattern of modern modernization processes in a long historical development and demonstrate how the rejection of the negativity of progress allows talented artists to realize their own potential. The study established the advantages and disadvantages of involving innovative technologies in the educational process on the example of European experience and outlined possible ways of implementing digitalization processes in Ukrainian institutions of higher education, formulated the main difficulties encountered by teachers and students in the use of technological innovation in the pandemic. The rapid development of digital technologies has had a great impact on the sphere of culture and art, both visual, scenic, and musical in all processes: creation, reproduction, perception, learning, etc. In the field of art education, there is a synthesis of creative practices with digital technologies. In terms of music education, these processes at the present stage are provided with digital tools of specially developed software (music programs for composition and typing of musical text, recording, and correction of sound, for quality listening to the whole work or its fragments) for training programs used in institutional education and non-institutional learning as a means of independent mastering of the theory and practice of music-making, as well as other programs and technical tools without which contemporary art cannot be imagined. In modern stage education, the involvement of video technologies, means of remote communication, allowing realtime adjustment of the educational process, is actualized. In the sphere of fine arts, there is a transformation of communicative forms of interaction between the teacher and students, which in the conditions of the pandemic are of two-way communication with the help of information and communication technologies. At this stage, there is an intensification of transformation processes in the educational industry in the areas of culture and art.

• 한국기록관리학회지
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• 제24권1호
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• pp.31-46
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• 2024

본 연구는 현대미술의 아카이브 담론으로서 '아트 아카이브'와 '아카이브 아트'의 기초 개념을 정리하고, 아카이브적 특성에도 불구하고 미술작품이라는 매체적 특수성으로 인해 기록학에서는 크게 주목하지 않았던 아카이브 아트를 새롭게 고찰한다. 동시대 미술의 새로운 경향으로 받아들여지고 있는 아카이브 아트는 '아카이브 구조나 방법론을 활용하는 미술작품이나 미술실천'을 의미한다. 지금까지 아카이브 아트 관련 연구의 주된 특징은 권력자에 의해 평가 및 선별되었기에 아카이브를 신뢰할 수 없는 대상으로 평가하고, 미술가가 공적 영역에서 소외되고 결락된 역사를 새롭게 구축한다는 점에서 대항서사로 평가하는 것이다. 이러한 접근은 반아카이브적 관점으로 현대 아카이브를 비판하면서도 아카이브를 작품의 핵심적인 정체성으로 내세우는 모순적 특성을 드러낸다. 따라서 지금까지 전개된 주요 논의들은 기록의 진본성을 존중하고 기록 정보를 활용해 자신의 논리를 강화하는 사례를 포괄하지 못하고, 심지어 이들과 대치된다는 점에서 한계를 드러낸다. 본 연구에서는 기록학의 측면으로 아카이브 아트를 재정리해 유형을 분류하고, 각각의 특성을 분석할 것이다. 미술가가 활용한 아카이브 개념을 전통적인 기록학의 측면에서 접근하려는 시도는 미술작품이 지닌 본래의 미적 가치를 인정하면서도 이를 기록학의 연구 대상으로서 확대한다는 점에서 의의가 있다.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.54-58
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• 2008

Despite rapid social changes, there have been little distinctive or fast shifts in living space, and the kind of housing design that could address the diverse need of residents is required. In the future, complex trend that is built on a mix and match of different sorts of styles is expected to be in vogue. The introduction of natural elements and ornamental factors such as books, antiques and art works into living spaces that are artificial things is expected to contribute to helping people lead a richer and Individual life. This study attempted to present a housing design by instilling culture in an existing living space and making it fit into a new lifestyle. After the position of natural and ornamental components was fixed, a contemporary modern living space was designed, for which art works would become necessary and sufficient conditions. A plane figure of the new living space was offered, and then detailed design for each part was provided. Finally, a finalized design pattern that was suitable for the selected concept was presented.

• 미술이론과 현장
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• 제9호
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• pp.123-150
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• 2010

In his non-hierarchical approach to art making, Robert Irwin questions how art is made. In the process, he seems to come down on both sides of the Modernism versus Postmodernism debate. Insofar as he wants to advance the avant garde tenets of modern art, he can be thought of as a modernist. But insofar as he denies Modernism's claims for transcendental status, he can be thought of as a postmodernist. Irwin's light and space environments, in particular, are conditioned by their basic attachments to their surroundings. They reveal the commonplace, but largely overlooked, richness of visual perception. By encouraging his viewers to open their eyes, Irwin wants them to engage in an act of looking, one that manipulates the basic syntax of seeing. This paper discusses Irwin's contributions to the art of his time (basically the transitional period between Abstract Expressionism and Minimalism) using as an example a light and space environment he created as the backdrop for the "First National Symposium on Habitability." This work was later reprised in 1980 as an independent installation. These works are examined to show how Irwin's art displaces modernist notions of authoritative (and authoritarian) quality with postmodernist ideas of direct (and demotic) value.