• 한국실내디자인학회논문집
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• 제34호
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• pp.10-19
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• 2002

The sublime as one of categories of aesthetics has given a great influence over art. Particularly, painters of Color-field Abstract, which can be considered as the art of the sublime, have tried to sublimate their art to the level of spirituality through expression of sublimity. The purpose of this study is to grasp distinctive peculiarities of sublimity expressed by Rothko, a Color-field painter, in his architectural work, Rothko Chapel, and manifested by Feldman through his musical piece, also titled Rothko Chapel, respectively.In conclusion, it is found that sublimity was expressed in both works through ‘immobile procession’ corresponding to ‘dualism’ of the sublime as Kant defined. More specifically, it is clarified that such immobility was expressed through the attributes of the sublime as suggested by Burke, and they implied dualism.

• Journal of Information Processing Systems
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• 제17권1호
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• pp.1-13
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• 2021

In this research, we study the problem of font image skeletonization using an end-to-end deep adversarial network, in contrast with the state-of-the-art methods that use mathematical algorithms. Several studies have been concerned with skeletonization, but a few have utilized deep learning. Further, no study has considered generative models based on deep neural networks for font character skeletonization, which are more delicate than natural objects. In this work, we take a step closer to producing realistic synthesized skeletons of font characters. We consider using an end-to-end deep adversarial network, SkelGAN, for font-image skeletonization, in contrast with the state-of-the-art methods that use mathematical algorithms. The proposed skeleton generator is proved superior to all well-known mathematical skeletonization methods in terms of character structure, including delicate strokes, serifs, and even special styles. Experimental results also demonstrate the dominance of our method against the state-of-the-art supervised image-to-image translation method in font character skeletonization task.

• 복식
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• 제51권3호
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• pp.59-73
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• 2001

This paper is to examine the meaning of activities of a number of artists who belong to Constructivism in the fashion design area during early twentieth century. After Russian Revolution, the artists like Nadeshda Lamanowa, Ljubow Popowa and Warwara Stepanova decided to devote to practical art area for many People. It's very meaningful for them to jump into real work places like a textile mill and a clothing workshop instead of staying in fine art area. Constructivism is more related to social interest rather than individual thing. The artists tried to apply their modeling principles in fine art to dress making. We can see the geometrical lines and shapes and big differences In colors and material in their dress. The artists had also shown personal tastes to dress works. This idea of togetherness with their time and even to create the style of it. was very renovative at that time and gave an influence on the later styles.

• 미술이론과 현장
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• 제3호
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• 조형예술학연구
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• 제3권
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• 대한가정학회지
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• 제40권6호
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• pp.1-19
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• 2002

This study is to observe the meaning, aesthetic formative nature of the human body which has been not only a main issue and discussion object but also socially, culturally connected with clothing by contemplating it in the respect of the trend of art. Additionally, a work of contemplation about human body introduced to fashion design was analyzed to renew the meaning and value of the formative art inside the human body. The way and scope of this study is to contemplate the concept and meaning of human body, based on the documentary records such as art history and clothing history in the West society as a main theme. The results of the analysis were as follows: In the first place, the formative characteristics shown in the modem arts expressing the human body since 1990 which are cubism, futurism, metaphysical painting, dadaism, surrealism, pop art, happening, feminism, body art, and technology art are distortion, exaggeration and dismantling. Second, the aesthetic formative nature and meaning in the human body appear to be different according to the standard of ideal beauty of human body when we examine the expression of it from the aspect of art-history and the meaning of human body implied in it. Besides, human body is being used as a messenger which delivers the message of modem artist to other people. So the changed meaning of human body has affected the clothing and made it possible to manufacture and form new styles of clothing that have never been before. In conclusion, the human body in the modem era plays an important role as a brand-new formative medium of communication in the human society and contributes to the development which applies the aesthetic formative nature of the human body to fashion design.

• 한국정보처리학회:학술대회논문집
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• 한국정보처리학회 2019년도 춘계학술발표대회
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• pp.79-81
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• 2019

Collecting data in wireless sensor networks in minimum time is a traditional problem which is known NP-hard. Previous studies built the schedule using the node-based or link-based metrics to prioritize the transmissions. In this work, we combine the effect of both metrics to obtain a smaller aggregation time. We compare our work with state of the art schemes and report the improvement.

• 국토계획
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• 제54권3호
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• pp.5-14
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• 2019

Starting with the market vitalization project in 2008, The Gwangju Dae-in Art Market has attracted to many artists, changing into cultural and art market. After the project was carried out for a certain period of time, a study was conducted to determine the differing opinions of the artists and merchants in regards to the market. The study also examined and analyzed the factors affecting the artists' continuous activities. The difference in recognition perception between artists and merchants was analyzed through a T-test. PLS-regression analysis was used for the artists' continuing intention to work. As a result, the artists and merchants recognized that the number of visitors increased after the influx of artists. Programs that had a positive impact on the artist's intention for sustainable activities were as follows: the 'Art Products Creation Workshop', where artists, merchants, and citizens collaborate to develop commodities needed for the market; 'Hanpyeong Gallery', where artists directly or indirectly interact with merchants and citizens; the 'Artist-Merchant Workshop', where artists and merchants produce articles required for the market; 'C'est Si Bon', which expresses the placeness of the market into art; and the 'Dae-in Art Night Market', where citizens, merchants and visitors can sell their own works. On the other hand, programs with the negative effect were those where artists' participation was low or none, as the policy implications, they should be actively develop this type of programs, where artists could participate and interact with citizens and merchants, like this visitors and sales can be increased.

• 한국융합학회논문지
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• 제10권7호
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• pp.141-147
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• 2019

최근 기술의 발전으로 공공장소의 미디어아트가 다양한 형태로 설치되고 증가하는 추세이다. 특히 공항의 미디어아트 설치가 늘어나고 있어 이에 대한 연구가 필요한 시점이다. 따라서 본 연구는 인천국제공항의 미디어아트 사례를 분석하여 개선 방향을 제시 하였다. 인천공항의 미디어아트 사례를 분석한 결과 다음과 같은 결과를 도출하였다. 첫째, 향후 공항 미디어아트는 관객이 참여하고 상호작용 할 수 있는 작품으로 발전시켜 여행자에게 즐거운 경험을 제공하는 형식으로 바뀌어야 한다. 둘째, 공항의 콘텐츠는 다양성도 중요하지만 국가의 대표성을 나타내는 콘텐츠로 구성되어야 한다. 셋째, 짧고 단순한 미디어아트 모음을 상영하는 것보다는 스토리가 있는 그 나라의 특성과 이미지가 잘 전달될 수 있는 대표성을 나타내는 콘텐츠로 구성해야한다.

• 복식문화연구
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• 제19권2호
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.