• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.153-168
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• 2023

Non-representation creates difference and change that can be used as a creative design method that satisfies contradictory requirements for similarity and differentiation. This study drew upon the characteristics of the concept of non-representation expressed in contemporary art and architecture, in which Gilles Deleuze's philosophical thinking was reflected, and analyzed the non-representation depicted in contemporary fashion. The non-representation expressed in contemporary art and architecture is as follows. Non-representation of delaying becoming focuses on reverting to preexisting objects and redefining traditional meaning, thereby delaying the representation of latent meaning. Non-representation of non-becoming removes existing values and typical forms and expresses amorphousness. Non-representation of becoming by repetition or reiteration realizes the difference caused by the passage of time by repeating or overlapping shapes. Non-representation of becoming expresses the transformation of space by flowing through time rather than by actual movement. Non-representation in contemporary fashion shows the following expression characteristics. First, the non-representation of deferring becoming deconstructs the traditional values and forms of clothing and expresses designs by displacement or juxtaposition. Second, the non-representation of non-becoming is expressed concepts unrelated to the body and focus upon amorphous objects that do not become concretized forms. Third, generative non-representation by repetition and overlap expresses the possibility of change by overlapping clothing items or details expressed by repeating segmented objects. Fourth, generative non-representation by movement reproduces the meaning of space and time by moving the shape of the clothing or visually changing the surface of the material of clothing. As a result of the study, the non-representation shown in contemporary fashion aims for versatility to conform to social changes. This study provides new insight into the fashion design method by increasing the understanding of the cocnept of non-representation and showing its potential.

• The Journal of Information Systems
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• v.19 no.4
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• pp.25-49
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• 2010

As companies introduced ERP (Enterprise Resource Planning) systems since the middle of 1990s, the databases of the companies has become centralized and gigantic. The companies are now developing data-mining based applications on those centralized and gigantic databases for knowledge management. Almost of them are using $Pro^*C$/C++, a embedded SQL programming language, and it's because the $Pro^*C$/C++ is independent of platforms and also fast. However, they suffer from difficulties in development and maintenance due to the characteristics of corporate databases which have intrinsically large number of tables and fields. The purpose of this research is to design and implement a methodology which makes it easier to develop and maintain embedded SQL applications based on relational databases. Firstly, this article analyzes the syntax of $Pro^*C$/C++ and addresses the concept of repetition and duplication which causes the difficulties in development and maintenance of corporate information systems. Then, this article suggests a management architecture of source codes and databases in which a preprocessor generates $Pro^*C$/C++ source codes by referring a DB table specification, which would solve the problem of repetition and duplication. Moreover, this article also suggests another architecture of DB administration in which the preprocessor generates DB administration commands by referring the same table specification, which would solve the problem of repetition and duplication again. The preprocessor, named $PrePro^*C$, has been developed under the UNIX command-line prompt environment to preprocess $Pro^*C$/C++ source codes and SQL administration commands, and is under update to be used in another DB interface environment like ODBC and JDBC, too.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.167-178
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• 2007

The purpose of this study is to systematically examine fusion phenomenon in the cultural aspect aiming to grasp the characteristics of fusion phenomenon, which has a steady impact on fashion trend. A reason for fusion to be noted as a cultural code is because diversely cultural interpretations are impossible from one viewpoint. Therefore, it is aimed to inquire into the characteristics of fusion culture, which is one phenomenon of newly mass culture, and to examine which cultural fusion phenomenon in modern fashion is being displayed in fashion design. First, the culturally fusion phenomenon, which was indicated in modern fashion, is displayed as repetition. The fusion, which integrates into fashion as a cultural code, is a trend of pursuing the experience with different culture. The needs of consumers are shown as fusion fashion that repeatedly uses the traditional detail and the modern detail through cultural repetition. Second, it is displayed as transformation. A concept of fusion is not the simple aggregate in [1+1=2], but the creation of new culture called [1+1=1]. In modern fashion, the cultures in the East and the West are harmoniously transformed, and through transformation, each culture is being compressively delivered. Third, it is displayed as interdependency. The fusion fashion which was newly re-interpreted while having reciprocal influence upon mutual culture, is re-interpreted by forming the equal relationship in heterogeneous elements without destroying fashion that was made previously.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.93-104
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• 2019

This study set out to analyze the architectural trends in Bell's works and spaces by applying the Gaze theory of Jacques Lacan to his minimalism works, concept changes in their changing process, and the development of exhibition spaces related to him. The findings were as follows: first, his early glass cube works sought after the reproduction of the Real Order through the repeating eyes of viewers and objects by using exhibition lighting; second, his works in the Standing Wall category pursued the reproduction of the Real Order through the repeating eyes of many different viewers around objects; third, his Nesting Boxes tried to reproduce the Real Order of a higher competition level in the perception aspects, making the repetitive elements of Standing Walls converge and including even external environmental elements; fourth, there is no decisive gaze sought after by Judd or the Key Signifiant as the core of Lacan's philosophy in Bell's formative works; and finally, Bell's works pursue the completion of Simulacrum through the infinite repetition of Derrida's Deconstruction Philosophy through the infinite visual repetition sought after by Gehry and Moss in the LA School of Architects who shared the same area and period with him.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.355-360
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• 2017

This study, which was begun in order to create a metal molding by using lines, a basic element of design, examined various characteristics and concept of line and the beauty of lines based on previous research on the subject. The result showed that formative interpretation of lines largely depends on intentional expression by using thickness and rhythm of lines. In order to obtain a metal molding that provides both visual freedom and beauty, rather than the conventional formative expression of lines, I used red copper plate and Phosphor bronze line for creating a pattern based on transformation and repetition of lines and an artwork based on the pattern. The result was not only a creation of a plane but the senses of three-dimension, speed, and unity in the overall shape. Further research will need to be conducted regarding formative interpretation of lines and emotional and intrinsic beauty through expression of lines.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.89-97
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• 2011

Furniture design is no exception to human desire for pursuit of the nature. In various design fields, it has turned out nature-decorative method in the past, and also recently it has turned out bio-adaptive method which is more root design process using principal of generation in nature world. The purpose of this study is to analyze application methods and characteristics of fractal geometry and voronoi diagram which are most representative principals of generative design in nature by research on the example of furniture design using these principals. The results of having analyzed fumitures by generative design can be summarized as follows; design principals of fractal; superposition, scaling, repetition & gradation, deformation, distortion and voronoi diagram; individual speciation, variational patten, repetition gradation, ambiguous boundary create new design concept and emergent form in furniture design. Application methods are 'form emergence by algorithm', 'conventional process based on principals of generative design', and 'reproduction of pattern from generative design'. Biological reinterpretations and new explorations of principals of nature generation offer unbounded possibilities for furniture design.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.16-25
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• 2010

This study reinterpreted the formative design elements of traditional grate patterns to create new lattice patterns and come up with a design concept for fashion-cultural products that highlight the uniqueness of traditional Korean culture and its characteristic features. Methodologically, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop were used to make grate patterns motifs. and they were applied to scarves and again to blouses using a three-dimensional simulation technique. In this study, three basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating and reducing shapes based on the images of traditional 亞-shaped, arched and floral lattices, and each motif was expanded to have two variations with different colors applied to them. The direction of basic motif design was set to fit for each of fashion-cultural items such as scarves and blouses. Basic colors for motifs were arranged to create a colorful and modern but staid image in pink, blue, purple, green, yellow and brown tones. Based on a developed motif, changes were made in blouse design with lattice patterns through a variety of effects such as repetition, rotation, cross-arrangement, and oblique arrangement, and three-dimensional simulation was used to bring the design to life. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed them through such effects as repetition, rotation, compositional variation and gradation to express a gorgeous and refined image.

• Journal of Fashion Business
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• v.22 no.1
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• pp.135-147
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• 2018

Since the 20th century, there has been a growing interest in the new concept of fractals, a combination of mathematics and art, and the attempt to study the creative spatial aspects of the concept is being made. The purpose of this research is to examine artistic characteristics of fractal dimension and then analyze the types of fractal dimensions expressed in the fashion. Previous literature on fractals and dimension, and visual data on art and fashion collected over the Internet were used for analysis. Fractal dimension refers to the spatial concept of structural dimension of geometrical self-similarity. An analysis of the types of fractals seen in fashion revealed spatial expansion, the repetition in continual figures, superposition accordant to different sizes, and shades of different shapes. The aesthetic characteristics of fractal dimension appearing in fashions were examined based on analyses of fractal dimension types; the inherent characteristics of self-similarity, superimposition, and atypicality were found. Results obtained from this study are expected to be used as basic materials for the application of the design of fractal dimension into various perspectives of fashion.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.164-173
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• 2013

This study aims to analyze the aesthetic thought and expression tendency appeared in contemporary architecture by looking at today's architectural art based on the concept of the uncanny that Sigmund Freud contended as an aesthetic principle, of the aesthetic concepts tossed around to define the contemporary times in the aesthetics field and discuss the architectural analysis possibility of the concept of the uncanny. The generation structure of the uncanny that generates experiences of fear and surprise is classified into dual structure, trauma, threatening structure, and repetition compulsion. This is the principle that evokes a sense of experiencing subject, incorporates sensibility, and vitalizes internal process. This is also the methodology to organize and structure the concept of the uncanny. When seen from the four factors drawn from the concept of the uncanny and aesthetic expressions, the uncanny expression characteristics of contemporary architecture includes isolation, subversion, trace, absence, oblique line, flotation, concealment, and disturbance. Isolation and subversion refers to producing the space of the pressure of tension and relaxation caused by repression and relief from repression and eliciting the maximum expansion of the sense of space through spatial change. Trace and absence indicates being able to elicit more intense emotions from the experiencing subject by applying the images of alienation and absence in the way to reproduce historical trauma. This happens by implementing the potential value of physical activity. Oblique line and flotation means visual impulse. This happens in the way to visualize uneasy points. This causes uncanny by threatening the survival. Finally, concealment and disturbance refers to creating unpredictable space. The concept of masquerade and maze space composition are applied in the way to activate spatial perception, including space exploration and unintended subject's forced selection. As stated above, the uncanny expression characteristics shown in contemporary architecture can be presented as indicators that are available to analyze the undecided and diversified contemporary architecture aesthetically. In this respect, this study has great significance.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.644-652
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• 2019

This study recognizes the problem of terminology surrounding the concept of transmedia and attempts to arrange and examine the concept by applying the syntagmes theory of linguistics. In transmedia, the prefix 'trans' means transversal, transformation, and transcendence. This versatility of the word transmedia itself provides a starting point for recognizing the concept of transmedia as an incomplete syntagmes with the verbal paradigm of transversal, transformation and transcendence. Depending on who is the subject of media content, such as media companies, creators, and users, syntagmes of transmedia is linked to terms such as transmedia franchise, transmedia storytelling, and prosumer. The purposes of the three subjects in the discourse of transmedia are different, using IP, expanding the story world, and enjoying the work. However, the common desires of 'repeat', 'extension', 'secure' and 'connection' are found in the purpose of three subjects. If terms like transmedia franchise, transmedia storytelling, and prosumer are 'parols' of the transmedia concept, then repetition, extension, securing and linking are the 'langues' of the transmedia concept.