• 정보관리연구
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• 제37권1호
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• pp.1-16
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• 2006

인터넷이 빠르게 확산됨에 따라서 기존의 통신 서비스 시장이 급격하게 변화하고 있어서 음성 중심의 통신 서비스에서 데이터 중심의 통신 서비스로 이행되고 있다. 이 과정에서 대표적인 정보 통신 서비스인 유선전화, 휴대전화, 인터넷 서비스는 서로 영향을 주고받으며 성장하고 있다. 본 연구는 유선전화, 휴대전화와 인터넷의 확산과정을 기술들의 상호관계를 고려하여 여러 국가의 사례를 통해서 분석해 보고자 한다. 이를 위해 1975년부터 2002년까지의 국가별 시계열 자료(time series data)를 이용하여 수정된 로지스틱 성장모형(modified logistic growth model)을 통해 통신 기술의 확산과정을 살펴본다. 이를 통해서 통신기술 간의 상호관계가 국가적으로 어떤 형태를 보이고 있는 지 확인할 수 있을 것이다. 또한, 본 연구는 기존 통신 서비스의 확산과정을 토대로 신규 통신 서비스가 출현했을 때의 수요예측에 필요한 핵심적인 정보를 도출하며, 인프라 투자의 비중이 높은 네트워크 산업의 시장진출 전략에 함의를 제공할 것이다.

• 한국의류학회지
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• 제31권5호
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• pp.742-752
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• 2007

The purpose of this study is the image of clothing according to the change of the dots' size was analyzed and its influence on the formation of the image of polka dots clothing was investigated. White waterdrop patterns were designed on the 12 kinds of black texture using Photoshop and CAD program in regular arrangement of diamond figure, composed of white waterdrop(0.5cm, 1.0cm, 1.5cm and 2cm in diameter) and interval(diameter : interval-1 : 1, 1 : 2, 1 : 4). Applying above specification, the photograph stimulus of 12 kinds of X-line one-piece dress with wide square neckline and without sleeve or detailed ornament was presented on a screen in the same size as when putting it on. The image of polka dots clothes was investigated by questionnaire survey. The object of the study was 320 females aged between 16 and 29. Factor analysis, one-way ANOVA, $Scheff\acute{e}$ verification and two-way ANOVA using SPSS 10.0 were carried out for data analysis. Followings are the results: 1) The image of polka dots clothing consists of 4 factors as aesthetics, brevity, dynamism and lightweight. 2) The size of the dot has a great influence on the formation of the image of polka dots clothing. 3) The evaluations of the image of polka dots clothing were different depending on the age and physical image, the personal characteristics of the object of investigation.

• 복식문화연구
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• 제19권3호
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• pp.488-500
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• 2011

[ $D{\'{e}}formation$ ]is one of the most important cultural factor which puts people at ease and gives a sense of security. This study, in the process, analyzes the works of Moschino. Moschino's designs are rated to have approached the sublime when it comes to transforming the psychological anxiety of everyday living into a laughter. After selecting one hundred-two of Moschino's designs from the Internet Web site(www.cft.or.kr, www.samsungdesign.net), this study examines and analyzes the characteristics and types of deformation found in them. The result as follows. The examination of deformation found in Moschino designs can be classified into a transformation, distortion, exaggeration, and illusion. Transformation, a conscious change of the existing form or function, was shown as the change of an existing position, form, function and designation of a new function. Distortion, an interpretation away from the reality or a "wrong interpretation," was shown by placing opposing factors in left-right position as an extreme asymmetry. Exaggeration, always beyond the realm of reality, was shown thorough an enlargement or a magnification of a specific part and a repetition of a detail factors. Illusion, through a distortion of reality results in something that looks new, was expressed through the effects of wearing a two-pieces, an expression of details, effects of wearing accessories, and an expression of a dynamism. Therefore, Moschino has reflected the desire of homo modern to transform the existing situation through many techniques of deformation.

• 한국산학기술학회논문지
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• 제12권5호
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• pp.2067-2077
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• 2011

최근 IT, BT, NT를 중심으로 기술간 융합이 가속화 되고, 다양한 기술이 복합적으로 활용되는 산업분야가 증가하면서 기술간 경쟁관계 분석에 대한 전략적, 정책적 필요성이 커지고 있으나 기술간 동태적 관계를 분석한 연구는 그리 많지 않다. 본 연구는 기술경쟁 관점에서 기술혁신 과정을 다룬다. 특히, 최근 정부가 우리 경제의 새로운 성장 비전으로 발표한 3대 분야 17개 신성장 동력 기술을 대상으로 하여 이들 기술들의 공진화 과정을 분석 한다. 분석을 위해서 대표적 기술혁신 자료인 특허정보를 활용하고, 동태적 경쟁확산모형으로 폭넓게 활용되고 있는 Lotka-Volterra 모형을 적용한다. 연구결과는 기술혁신 과정에 있어 3대 분야 간, 17개 신성장 동력 기술 간, 신성장 기술 내 세부기술 간 동태적 관계를 분석함으로써, 효과적인 국내 기술정책 수립과 연구개발 우선순위 선정 등의 전략적 의사결정에 활용할 수 있을 것으로 기대된다.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.

• 한국조경학회지
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• 제32권6호
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• pp.68-81
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• 2005

The styles of contemporary landscape design have diversified since the emergence of Postmodernism in landscape architecture. The diversification was mostly influenced by contemporary fine arts and architecture. This study examines the pluralistic development of Postmodern landscape design through the investigation of the influences from those sister arts. In this point of view, the main approaches of Postmodern landscape design are thought to be classified into three categories;'the formal abstract approach', 'the figurative approach' and 'the new picturesque approach'. The first category of the formal abstract approach was formulated with the concepts and vocabulary of Minimal Art and Installation Art. Its representative icons such as 'point grids' and 'stripes', and the main concepts such as the sense of 'flahess', 'expansion' and 'materiality' are mostly thought to be originated from these art forms. The second category of the figurative approach is characterised by the concepts and vocabulary of Pop Art and New Image Paintings. Its representative icons such as 'map' or 'figurative forms' and main concepts like the sense of 'reality', 'context' and 'symbolism' are mostly thought to be originated from these art forms. The third category of the new picturesque approach was formulated with the concepts and vocabulary of Land Art and Late Deconstructive Architecture. Its representative icons such as 'hybrid', 'layer' and 'fold', and the main concepts such as the sense of 'complexity', 'continuity' and 'reversibility' are thought to be originated from these art forms. The research shows that the main stream of contemporary landscape design seems to be gradually moving toward the second and third approach above, in step with the cultural orientation and the dynamism of contemporary urban life. Therefore, the study focused especially on the new picturesque approach which would be in greater need for coping with the hybrid culture today.

• The International Journal of Costume Culture
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• 제3권3호
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• pp.212-222
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• 2000

This study intends to observe how the essential elements of art have changed Human's sense of beauty extending over the whole lives as well as fashion through the investigation of Light and Rays which have played a important role in giving birthe to the new trend of art within the upheaval age of various cultures. The peculiarities of which Futurism of Italy and Rayonism of Russia including Impressionism have a great role in giving birth to a new trend of art by means of the development of science technology are like these. Impressionists looked for the origin of the subtle harmony in nature within changes of sun-rays. The special feature of Impressionism paintings was to express the line of vision diversely according to changes of light rather than to focus on the line of vision with clear outlines. Henceforth, Neo-Impressionism which developed Impressionism more systematically leaded changes of Light and Rays more systematically and scientifically and maintained Divisionnisme techniques which extends to lead towards color and light through dividing and juxtaposing color. In the early 20th century Futurists tried to express dynamism through the interpenetration of light and revive color and light through the division techniques of color and persist an artificial light like eletricity rather than a natural light. Rayonism of Russia which was ifluenced from Impressionism and Futurism maintained intersection of reflecting rays which emerges from an object of things more deeply. This pursuit of light and rays also light and rays also appears as it is in modern fashion. First, it is the fashion which applied sun-rays persisted by Impressionists and expressed colors which show differently according to direction of light. Second, it is the fashion design which re-analyzed what Futurists expressed artificial light and rays. Third, it is the design which expressed Divisionnisme theory persisted by Impressionists and Futurists into fashion as it is and was made of being divided the form of glittering light into small dots. Fourth, it is the fashion design which applied Rayonists'work which applied intersection of reflected rays. Like this, it is aproved that the pursuit of light and rays expresses as it is in modern fashion of the 21st.

• 한국실내디자인학회논문집
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• 제22호
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• pp.61-68
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• 2000

This paper illustrates what the reality of architectural concepts, materials, notions and phenomena are as central questions of contemporay space design. These issues form the goal of modern space design which should attain to the reality of an era when non-real values prevail. Despite the trends of an everchanging and ephemeral dominating quality in architecture for the last ten years, architects still aim to contruct everlasting space on earth. The trends of dematerialization in today's space design can be substantiated in spatial-temporal dimensions as follows. First of all, ephemeral architecture with concepts of hypothetical temporality, everchanging architecture in fluidity, and the transparent architecture with the floating and overlapping image can be analyzed in the dimension of 'time'. In terms of 'space', void quality for the expression of emptiness, neutral space by the simplified and summarized forms, expanded space through ambiguous boundaries and spatial repetition can becharacterized and also be intended strategies for lightness, state of flux, ambiguity, paradox etc., lead modern space design along that path. As this point, we need to pay attention to the so-called 'hypersurface' concept proposed by Stephen Perella. Hypersurface is a sort of cladding sheathing existence independent from the primary structure. With it, the integration between form and image can be achieved. Sometimes hypersurface can be a strategical screen for image projection, a cognitive receptor for surroundings as well as a catalyst for information and communication systems. When the situation dematerializes more and more as the years go on, the concept of hypersurface can be an inclusive method between the phenomenological form in architecture and its self recipient image. Permissive atmospheres created between them in contemporary space design and new paradigms emerged with digital technology will further reinforce the human space's dynamism.

• 한국콘텐츠학회논문지
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• 제13권2호
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• pp.412-419
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• 2013

차별화가 경쟁우위의 필수적인 요건으로 인식되고 있음에도 불구하고 기업이 운영하고 있는 인사제도의 측면에서 본다면 오히려 그 반대의 모습을 발견할 수 있다. 각 기업은 차이점으로 구분되기 보다는 동질적인 측면을 보다 많이 찾아볼 수 있다. 본 연구는 선행연구에서 제시된 개별 기업간 인사제도의 유사성에 대한 논의를 이론적인 차원에서 보다 면밀히 구조화하고자 하였다. 본 연구는 이론적 차원에서 동형화와 관련된 기존 논의를 구체적으로 제시하고, 이를 토대로 각 기업의 인사제도 도입에 따른 동학적 특성을 탐색적인 차원에서 분석하여 인적자원관리의 현실적인 시사점을 찾아보는 것을 목적으로 하였다. 본 연구는 선행연구에서 제시된 개별 기업간 인사제도의 유사성에 대한 논의를 탐색적 차원에서 보다 체계적으로 논의하였다. 또한 신제도주의적 관점에서 동형화와 관련된 기존 논의를 제시하고, 이를 토대로 각 기업의 서로 유사한 인사제도 도입에 따른 동학적 특성을 기존 연구를 바탕으로 분석하였다.

• 한국생활과학회지
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• 제13권1호
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• pp.173-183
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• 2004

The techno fashion presents the new formative beauty of fashion with a stream of light and dynamic phenomenon on human body. Also it opens the futurism arising from the combination of technology with fashion. The purpose of this paper was to investigate the internal trend and external form that techno-fashion aims at, and to analyze the expressive characteristics in design. The results were as follows. ${\cdot}$ The techno fashion created the new formative artifact through the dismantlement and reorganization of form. ${\cdot}$ The techno fashion used the composition of the geometrical abstraction as an expression of beauty symbolizing the modernity. ${\cdot}$ The techno fashion created the diverse colors by using the light along with colors of gold, silver, metal, intense fundamental colors, and artificial rotor. ${\cdot}$ The techno fashion expressed the dynamism, brilliance, youthfulness, futuristic image by using the sense of dazzling brightness by means of metal. ${\cdot}$ The techho fashion along with the development of science and technology made the atmosphere of silhouette of clothes different by expanding the category of materials more widely, together with the possibility of continual emergence of new material. ${\cdot}$ The techno fashion expressed the dynamic movement on clothes and gave the sense of periodical rhythm by the reflective action of light when they were clad. ${\cdot}$ The techno fashion grafted wearable technology into the fashion and made the information instruments recognized as a concept of clothes. ${\cdot}$ The techno fashion pursued the values of not only the beauty of the simple geometrical design, but also the values of functionality and expressed the image of high quality of life through the harmony of technology with human.