• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.37-51
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• 2014

The purpose of this study is to devise a wide range of expression and direction in fashion by analyzing the wardrobe of David Bowie, a musician who represents Glam Rock, for "glam" characteristics. Research was done using dictionaries of musical terms, dictionaries of attire terms, internet, papers and books published in Korea and abroad and other materials. The results of this study showed four characteristics, and it can be summarized as follows. First, resistance refers to the deviation from the norms set by a mainstream society. The resistance in Glam Rock was expressed in depreciative and anti-social characteristics, and Punk elements were expressed by using studs and metallic materials. Second, androgyny in David Bowie's costume expresses the innate nature of gender by freely integrating or tight silhouette costumes. Third, the fantasy in Bowie's costumes is a concept as opposed to what is real and is expressed by using avant-garde and playful expressions. Distorted, exaggerated and avant- garde expressions express decorative and bizarre fantasy by using the images of an astronaut. Fourth, the folklore in David Bowie's costumes uses the patterns and images of different cultures, and is expressed as through integration of exotic components, including the usage of costumes with Oriental colors and shapes. Furthermore it represents geometric shapes and curves, using the images of Kimono.

• Journal of Conservation Science
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• v.19
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• pp.57-66
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• 2006

The rock consisting the Naju-Dongmunoi-Seogdanggan (Stone Stele)(Treasure number 49) is biotite granite of medium to coarse grains which might be taken from nearby area. The rock is mainly composed of quartz, plagioclase, alkali feldspar and biotite. Due to strong weathering grail peel-off and surface exfoliation are well developed. The rock surface is changed into pale brown or pale black colors according to weathering, organism and weathering product of iron band. Major deterioration phenomena are grain peel-off, surface exfoliation, cracks and damage which may be originally classified into weathering, effect of weathering product of iron band, organisms, structural unstabilities and impact.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.21 no.1
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• pp.35-40
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• 1985

The author carried out experiments to find out the response of rock bream, Oplegnathus fasciatus (TEMMINCK et SCHLEGEL) and sea bass, Epinephelus septemfasciatus (THUNBERG) to the color nettings. The experimental water tank(180L$\times$50W$\times$55Hcm) was set up n a dark room and water level was maintained 50cm high from the bottom. The tank was devided three longitudinal sections marking 60 cm interval. The illumination systems, consisted of 20 watt fluorescent lamps and filter, were suspended adove the tank. Two different color nettings selected from five colors (red, yellow, green, blue, black) were placed in each end section of the tank. Ten fish were used in each experiment and the fish were acclimatized in the dark for 60 minutes before experiment. After the light on, the number of fish in each section of the tank was counted in every 30 seconds interval for 30 minutes. The results obtained are as follows: 1. The rock bream selected the color nettings in the order of yellow, black, blue, green and red. 2. The sea bass selected the color nettings in the order of green, black, red, blue and yellow.

• The Journal of the Petrological Society of Korea
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• v.2 no.1
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• pp.19-31
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• 1993

Oxygen isotope compositions of whole rock and/or mineral separates (quartz and feldspar) have been determined for the granitic and related rocks from the Wolf River Batholith, Wisconsin. Hydrothermal alteration resulting in the decrease of ${\Delta}_{Q-F}$/ values was obaserved locally throughout the batholith. Feldspars of different colors (pink, gray and red) were separated whenever feasible and analyzed. Most red feldspars (An$_{10-30}$/) show the highest and constant ${\delta}^18O$/ values (9.3~10.0 permil) suggesting nearly complete isotope exchange with hydrothermal fluid. Based on ${\delta}^18O$/ values and the alteration temperatures (260~$350^{\circ}C$) estimated from fluid inclusion study, ${\delta}^18O$/ of fluid is calculated to be $5.0{\pm}1.4$ permil. Phanerozoic sedimentary formation water in Wisconsin is most likely the source of the fluid.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.351-363
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• 2015

This research explores diachronic fashion design trends through a structure analysis of a connection network based on fashion show concepts implemented by modern fashion designers from S/S 2009 to F/W 2013. The findings from this research are as follows. First, four categories affect the inspiration and thinking of design: the experience of the designer, social atmosphere and phenomena, natural sensitivity (or formative characteristics of natural objects), and the influence and quality of other fields. Second, in cases where the designers' experiences influenced design inspiration and thinking, designers express personal memories with keywords like high school, grandmother's closet, prom, beauty and the beast, heritage, past, and reminiscence through design elements such as lines, silhouettes, materials, and colors. Third, the representative example of the social atmosphere and phenomena that influenced design inspiration and thinking was the 2008 Global Financial Crisis that reflected the social climate through design concepts of keywords such as Recession, Black, Economy, US, Depression, Gray, Dark Age, White and New York. Fourth, inspired by nature and the formative characteristics in design, the designers employed ornamental elements to collections and design concepts that focused on nature words connected to light, sun, wild, dirt, rock, moss, and trees. Fifth, the designers took their ideas from different fields of personal interest in the arts, science and humanities (sports, architecture, sculpture, painting, and literature) that were decisive in determining materials, design colors and silhouettes. The theme of architecture was analyzed as a central element that had an ongoing impact on the concepts of designers.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Journal of the Korean earth science society
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• v.26 no.7
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• pp.630-639
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• 2005

The purpose of this study was to investigate the classifying ability of the igneous rocks with the naked eye for 36 preservice science teachers. For this, we selected six specimens of igneous rocks that consisted of rhyolite, andesite, basalt, granite, diorite, and gabbro, and performed the questionnaire with them. Preservice science teachers needed the average of 3 tools to classify the rocks. Most of the selected tools were loupe, streak plate, hammer and Mohs’ hardness scale. Many preservice science teachers selected basalt and granite samples to classify igneous rocks among 6 kinds of the rocks which were exhibited. However, the results of the identification with the naked eye showed that the right answer rate was significantly different based on what rock sample had been selected. Nobody gave the right answer among 10 students who chose the rhyolite sample, but all of 36 students who picked the basalt sample answered correctly. And $62\%$ of 8 students who chose the andesite sample, 62% of 32 student choosing granite, $7\%$ of 13 students choosing diorite and $44\%$ of 9 students choosing gabbro were correctly answered. In identifying igneous rock samples with the naked eye, most subjects relied on vesicular texture to basalt, and they used textural, color and empirical characters to granite. But, some felt more or less difficulty to distinguish between intermediate and light colors and to recognize porphyry.

• 보존과학연구
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• s.25
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• pp.171-195
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• 2004

This research presents an evaluation of the weathering and deterioration state of the Wanggung-ri five-storied stone pagoda in the Iksan (National Treasure No. 289) and suggests conservational schemes. A deterioration map of the pagoda was drawn from the aspects of petrological, physical, chemical, biological, structural and artificial weathering.The rock properties consisting of the pagoda were medium-grained biotite granite that had leucocratic phenocryst developed in parts. The body of each story suffered severely from the secondary contamination that turned the colors into light grey, pitch dark, yellowish brown, and reddish brown as well as granular decomposition, exfoliation and peel-off. The roof stones were heavy exfoliated or peeled off in most of the cases. In addition to the fine cracks, there were layered cracks on the corners. The roof stones of the3rd and 4th story in the north and west side had some stones fall-off, while those of the 2ndstory in the north side had steel reinforcement filled for a fixing purpose. Those of the 5th story showed big gaps that must have originated from cracks and were easily subject to granular decomposition and rainfall. The inside clay filler was missing in the lower part of the roof stones of the 4th and 5th story and the supporting stones, which were thus covered by light grey or pitch dark sediments. The contact area of the materials was about 70 % in the parts where there was a space due to the filler missing and washigher than 90 % in the lower parts of the pagoda. About 90 % or more of the roof stones surface of each story were covered by aerial plants that formed a thick biological mat. Thus it seemed necessary to come up with the conservational measures to remove the plans living on the surface of the stone materials, with the plans to prevent rain from falling inside, and with the water repellent and hardening treatments to postpone the surface weathering of the rock properties. All those measures and plans must be based on the results of long-term monitoring and thorough detail investigations.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.131-139
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• 2010

The ten traditional symbols of longevity are represented as 10 which means perfection in oriental philosophy, the sun, mountain, water, cloud, rock, pine tree, elixir plant, tortoise, crane and deer. each subjects symbolizing longevity had used in isolation. unlike China and Japan, the ten symbols of longevity became a fixed form and was widely used in paintings, household effects and clothes in Korea. therefore, It will be a meaningful study how the ten symbols of longevity, as one of subjects in painting, changed into a pattern on clothes. The ten symbols of longevity was affected by various philosophies and religion. especially, it laid emphasis on order by Yin-Yang and the Five Elements theory. the order was applied to arrange each subjects and use colors carefully. the sun colored with red and was on the upper. the pine tree colored with green meaned tree and was on the left. the earth and the mountain meaned the soil and was on the center. the rock meaned the iron and was on the right. the water meaned the water and was on the bottom. The subjects of the study were embroideries like spectacle cases, spoon cases and pouches. the scope of study was the Latter Part of the Joseon Dynasty because there are more relics in the Joseon Dynasty than any other times.