• Journal of the Korean Society of Costume
• /
• v.63 no.4
• /
• pp.1-16
• /
• 2013

Using the premise that fashion and art reflects the characteristics of its times, this study examines the influence of Anti-form in fashion with a focus on physicality. This study combines literary survey and case analysis of both Anti-form in 1960s and 1970s and the fashion collections since 1970s when the influence of Anti-form began to appear in fashion. The influence of Anti-form focusing on physicality is summarized as deconstruction of garment and visualization of the physicality of material. Deconstruction of garment visualizes the invisible structures of garment by deconstructing, restructuring, and deforming the construction and the shapes of the garment, which is illustrated by visualization of design process, overlapping and fusing of materials, loss of stitches, and use of fabrics with flaws, questioning and destroying the sartorial conventions and aesthetic standards. Visualization of the physicality of material exposes the imperfect inside of garment which is concealed conventionally by presenting unfinished garments with minimized sewing procedure, crumpling and flattening fabrics, rubbing and fading surfaces, pulling threads, as well as using the selvages of fabrics.

• International Journal of Costume and Fashion
• /
• v.9 no.1
• /
• pp.26-33
• /
• 2009

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of concealing, revealing, and deforming the body. Using �body�t o analyze the clothing form, my study develops a framework by which to classify the absence of physicality in fashion focusing on the deformation of the body parts. The absence of physicality denotes the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form refusing to subscribe to the traditional values that build on the balance and symmetry of the body, which opposes the sartorial convention and symbolism that results in the discord between signifiant and signifi? f clothing.

• Journal of the Korean Society of Costume
• /
• v.56 no.7 s.107
• /
• pp.126-141
• /
• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
• /
• v.56 no.9 s.109
• /
• pp.66-82
• /
• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• The Research Journal of the Costume Culture
• /
• v.15 no.4
• /
• pp.604-619
• /
• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korea Society of Computer and Information
• /
• v.24 no.1
• /
• pp.67-71
• /
• 2019

With continued technology innovation in the fields of computer graphics (CG) and virtual reality (VR), digital animated avatars (or virtual humans) are evolving into ones that are more interactive at a suitable location such as museum, airport, and shopping mall. Specially, the form of the avatar (or the virtual human) realistically need to be expressed in a way that matches the users' physical space. In recent many researches, the form of virtual human has been expressed as mixed-reality human (MRH)-the virtual human combines with the physicality as the real part. In this paper, we propose to carry out a study comparing various MRH on co-presence and emotional response in two-typed virtual humans depending on how many actual parts are included: (1) (Level 1) small parts in the virtual human combined virtual components (e.g., the head only) and (2) (Level 2) large parts in the virtual human with the physicality as the real part such as head, arms, and upper body). We report on the implemented results of our virtual humans and experimental results on co-presence and emotional response.

• English & American cultural studies
• /
• v.14 no.2
• /
• pp.233-249
• /
• 2014

This essay addresses the missing conversation in Keats studies by showing how an enduring mystery of Romantic writing—the medium of poetic process and the physical conditions of enunciation—remains a central question in the Hyperion fragments. It is my argument that the tropes of material textuality prevalent in the Hyperions represent a bold cultural statement in which Keats reacts to the major premises underlying the Romantic culture's notion of poetry as abstraction: the Romantic notion of literary (re)production as a product of the activity of a mind. Keats's self-conscious, symbolic representation of the mechanics of poetry-making can be read as an investigation of the ways in which the Romantics were aware of and even eager to articulate the instabilities of their position on the relations between words and things. This essay does not focus exclusively on the physical embodiment of Keats's work as such, so much as the second-generation Romantic poet's contribution to the Romantics' self-conscious and critical understanding of the depiction, perception and ideologies of their poetry and its mediation.

• Journal of Science of Art and Design
• /
• v.6
• /
• pp.140-202
• /
• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• Journal of Integrative Natural Science
• /
• v.15 no.1
• /
• pp.37-48
• /
• 2022

Metabus, a three-dimensional virtual environment for digital communication, has gained a lot of attention recently. Even so, there are still many unanswered questions about the user's consciousness and behavior. A difference in nature from conventional digital communication is also unclear. This paper aims to study Metabus on a hypothetical premise by organizing the possibility of Metabus for communication activation based on a research project aimed at using Metabus to support the formation of a community of school dormitories and studio rental residents. After reviewing the establishment process and application cases of Metabus, we focus on the character (avatar) used as the user's alter ego within the metabus, which will allow customization of both form and content different from text-based communication. The "physicality" and the "spatiality" of the metaverse and the "immersion" they bring are among the most important, functional innovations. Based on this summary, a case of using metabuses will be reviewed to describe the research plan aimed at supporting community formation.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.109-152
• /
• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.