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Real space is not four-cornered plane
By sharing our knowledge, the quantity of our knowledge could be doubled.
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beethoven Coral fantasy.
il entend par les yeux.
il entend par la pensEe.
il sent l'espace par le son.
il entend le son par la forme.
morse code.
hunminjungum
roi sejong
il plaint du peuple.
il est diffErente de la chine.
il faut utiliser facilement.
il peut utiliser par l'arme pour la guerre.
hanol
un nuage ou un crEpuscule sur le ciel.
l'espace rEel n'est pas un plat carrE.
la crEation intellectuel double par le partage de l'expErience intellectuel.
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The signature on canvas.
Is it a painting or signature?
Writer:Lee o-dek Title: Using Correct Korean.
writer:Umberto eco Title: The Way To Write a Good Thesis.
We should have to read these books.
Q:Do you know what is it in the core of the country?
Even if the flags are fluttering,there is Korean"HANGUL"in the core of the country.
There are about 6000 kinds of languages.
We can never express many situations using only one language like English.
Korean is not the language for only us.
Because this has identical own meanings.
So it is essential to keep our Korean.
BOM--------spring------to see
YEORUM-----summer------bear fruit
GAUL-------fall--------go away
What is the meanning of GYEOUL(winter)?
It is important to inquire into these stuff.
Our Korean have splending history over 5000 years.
So inner side of Korean,there is the orgine of Korean still aliving.
During Japanese colony period,the fact that our Korean was erupted make us feel really sorry.
It is very important using Korean well.
And when you think something,you need to consider the meaning in Korean.
SAEGAL------seperating light------color
MOOGIGAE----holding water---------rainbow
HINSAEK---comes from sun(HAE)----white
GUMUNSAEK--comes from charcoal soot--black
BULGUNSAEK--comes from fire(BUL)----red
PARANSEAK--comes from sea(BADA)----blue
NORANGSAEK--sunset--------------yellow
JAJI--------growing big without deficient---penis
Ы߾٣
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We can feel something new by changing sizes.
Nature gave me the best tool – Salvador Dali
Lee Sang who is Surrealism chose the letter of his book himself to consider the sizes and layer of his book as a part of his book.
JenaAtti means my dearest friend. - Song Jong-Eun
Thesis should be written anybody can understand.
Design
Is length and speed different?
When Gaudi, Architect, designed his architecture faced gravity, he hang sand bag, set mirror under that and drew the shape of the reflection.
Like that way, you can find good feature by using something turned over that could be considered wrong.
We see the room like we see night sky.
If you see a fist with a closing one eye, that look flat.
״ Ű Ӿ ڶ ظ Ѿ ΰ?
We can not calculate the size of empty space.
-franCais
on peut avoir nouveau sentiment par changement du grandeur.
la nature a donnE le meilleur outil pour moi. ...salvador dali
lee-sang, il a imprimE A l'imprimerie aprEs avait choisi des caractEres et alors il additionne le chic A la grandeur et le style de caractEre.
'zena atti' Ca veut dire mon meilleur ami ...song jong eun
l'essai, il faut facile pour comprendre A tous.
design
la longueur et la vitesse. ils sont differentes?
ڸú ¼ ָӴϵ ٿ Ŵ ſ￡ ģ . ó Ʋ ִ 巯 ִ.
comme on voit le ciel nocturne quest plein les Etoiles, on voir ceete chambre comme Ca.
Ǹ δ.
quand est-ce que la taille de bouddha passe la vitesse de lumiEre apres la taille de bouddha grandit sans limite.
on ne peut pas mesurer la dimension de la place vide.
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In June 1943, Frank Lloyd Wright received a letter from Hilla Rebay, the art advisor to Solomon R. Guggenheim,
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Spider human being
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Head of pig
An anus sensor
Dancing house
Frank Gehry
Guggenheim Museum
I need
a fighter,
a lover of space,
an agitator,
a tester and a wise man. . .
I want a temple of spirit, a monument!
-Hilla Rebay to Frank Lloyd Wright, 1943
In June 1943, Frank Lloyd Wright received a letter from Hilla Rebay, the art advisor to Solomon R. Guggenheim,
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Frank Lloyd Wright
Falling Water
House of Winslow
Picasso was a cubist who represent object as if he could be seen from several different positions at the same time.
A futurist is someone who makes predictions about what is going to happen, on the basis of facts about what is happening now.
Expressionism says that symbols and exaggeration to represent emotion is important rather than representing physical reality.
After Cezanne, painters knew that perspective painting is not right.
Dada is the evolution.
Mona Lisa of Leonardo Da Vinci has been regarded as top of Europe art.
Marcel Duchamp who wrote L, H, O, O, Q and drew mustache on Mona Lisa of Leonardo Da Vinci open up new stage on art.
90 years ago, he applied to toilet as a Fountain.
Da Vinci is called 1000years person and Marvel Duchamp also is respectable.
After Dada, painting had changed from realistic to abstract.
Artists ability is a honesty. (Kwon ina)
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ce truc
araignEe homme
araignEe humain
humain araignEe
Ź̸
une tEte du porc
un anus sensor
la maison dansante
frank gehry
musEe du guggenheim
j'ai besoin de
un combattant
un ami du espace
un meneur
un examinateur et une personne intelligente
je veux un temple de la EternitE et un monument .
-hilla rebay A frank lloyd wright 1943
en juin 1943, frank lloyd wright a reCu une lettre de hilla rebay,
le conseilleur de l'art A solomon r. guggenheim
frank lloyd wright
(?)
la maison de winslow
picasso est un cubiste qu'il dessinait beaucoup de partie sur une canvas.
le futurisme exprime le courant du temps, et ils dessinaient le movement directement
dans la canvas.
expressionnism, il reprEsentait que la chose qu'on ne peut pas voir est importante comme la chose qu'on peut pas voir.
aprEs cezanne, on savait que la perspective n'est pas juste.
dada est la rEvolution.
la gioconda de leonardo da vinci, il est au sommet des beaux-arts eropEen.
mais, marcel duchamp qui Ecrit "L.H.O.O.Q"et dessine la moustache sur la photocopie de la gioconda. il fait recommencer l'histoire de l'art
comme nous appelons leonardo da vinci une personnage de 1000ans, duchamp est personnage excellente aussi.
un talent de l'artiste est la conscience.(kwon ina)
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I apologize for not writing this sooner...my time lately has been taken up by many other things, which are now over, so I may finally focus on my work. For the past several months I have been preparing a presentation about some research and my work, which I presented in Jeju-do this week. You can see it online if you go to my website, http://www.heatherbayless.com and click on the link for 'Fulbright Research'.
I do not yet have a title for my thesis work (even if I did I know it would change), but the theme will be close to 'natural form and pattern,' including functional tableware as well as jewelry. I am interested in forms and patterns from plants, and recently I have been working on some models in paper and wax based on the form of mushrooms. As you can see, I am interested in the function of the under-side of mushrooms, the structure that holds the spores (seeds) and how it works. One of the most interesting things about this is how you can make 'spore prints' by leaving a mushroom over paper for a few hours. I plan to use this as a connection to some tableware, as a shaker of some kind (salt and pepper).
As I develop my thesis further I will continue to show images and writings on my work.
mushroom photo from: http://www.gettyimages.com
spore photo from: http://www.sxm-info.com/photos/mushrooms/
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The words used in jewelry shops are polluted by English and Japanese. If we continue to use the polluted word, the worth of the Korean word would fall.
The Jewelers Bench Reference written by Harold O'Connor is steady seller. But the skill soldering small ball that he showed when he made or taught can not compete to the Silla period skill.
Our metal skill is very good and formed for long period.
When Silla craftsman made Silla crown, the skill must be based on our own ability and they must had spoken Korean words not English or Japanese.
So we have to find the origin of our culture and that is very important.
Goorum(cloud) means that the world is round.
The cloud in the sky is round.
Korean is great design.
It is good sample to show us that Korean is already in the center of post post post modernism.
When you are taught, please think of the appearance and structure.
A few years ago. The name I drew on the paper?
There is an episode when I sold my work before 20 years.
A few days later, a curator called me. And she said,
I could not find your signature on your work.
I said There is no signature on my works.
She said Then, how could we know this is yours?
I said All the works without signature are all mine.
There are some reasons about that I do not write a signature.
At first, I consider that no one would make it such things.
Secondly, I was wondering whether only I can make it.
Third, I like the feeling that was not finished.
Moreover, I like that I am doing something different behavior to the other artists.
And I am still hesitating to sign on my works.
When you write something, we should care nuance delicately and write based formative consideration.
3 in the middle
8 endless forever
When I write in English, I only write in small letters.
But the consonants are in small letters and vowels are in capital letters.
It is hard to write in that way, but it is formative expression. Someone may consider it as good looking.
When we write in French, we can make solve the problem of broken letters in the virtue of errors in computer program by writing the accent in capital letters.
What Introduce myself is
to introduce everything about me to other people.
to make other people know about what I like, think, my thought and my worth.
to tell about me in a right mind.
It should be unique.
It should be smooth like streaming river.
It should be short.
Thesis my thought.
In the title of thesis, the title should have the point of it. And in conclusion, you have to summarize the whole of it and ask question again.
In the book the way to write good thesis written by Umbert Eco there is comment about the way to keep our opinion from our teachers consideration.
Good example for the title of thesis.
Why does not the rainbow appear in the polluted place?
Our eye balls are round.
When we copy book, we and find some parts curved printed in black.
The curved one is printed in correct way.
But pictures taken by camera are incorrect things.
Picasso and  painted picture by dividing and gathering the solid.
Even though our eye balls are round, picture is square and paper is flat.
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il est confuse de mot qui d'utiliser dans le magazin des bijoux.
parceque c'est comme Ca, ils perdent ses valeurs.
c'est le livre populaire que harold o'connor Ecrit sur l'accEssoire. mais je pense que l'habiletE de sinla est bien que lui sur l'oeuvre d'art. nous avons l'habiletE supErieure de manier le mEtal et d'or. il est longtemps aussi.
quand ils fabriquent la couronne d'or et l'accEssoire, les ancEtres etablissent des bases solides pour les oeuvres. il y avait le coreen correctment A cet endroit-lA.
aprEs utiliser le coreen correctement, il apparait de la base et intelligence.
le nuage, comme ce mot, il apparait que le monde est rond.
le nuage du ciel flotte en rond dans l'air.
hangue, il est un design excellent.
il est bon exemple de post post post modernism.
-la signature sur le canvas
il y a 20ans, c'est A ce moment quand ma oeuvre se vendait A quelquun.
aprEs quelque mois, le acheteur me tElEphonait.
"il n'y a pas rien votre signature dans votre oeuvre."
"je ne signe pas dans ma oeuvre."
"et alors, comment on peut certifier."
"c'est A moi toutes sans signature."
il y a beaucoup de sens que je ne signe pas A miennes.
au premiEre moment, je suis la personne uniquement qui fabriqe cette oeuvre.
au derniEre moment, j'ai un doute que je suis la personne uniquement pour fabriquer quelquechose. parceque j'aime bien la sentiment de rester plus A faire quelquechose
aussi. d'ailleurs, j'aime ma pensEe que je fais diffErent des autres oeuvres.
je suis en train de hEsiter encore A signer.
3: milieu, ElEgance
8: infini, EternitE
-prEsentation de soi-mEme?
c'est que je fais savoir sur le moi A l'autre personne.
et fais savoir sur ma prEfErence, mes pencEes, ma valeur.
et fais savoir sur le moi avec bon esprit.
il faut que prEsentation est diffErent de l'autre personne.
il faut que la lettre et la phrase se joint comme courant d'une riviEre.
c'est que je fais savoir sur lr moi dans un moment.
-thEse. pencEe.
on doit apparaItre le sens propre de thEse dans un titre de la thEse. et puis, en finalement, aprEs rEumE, on doit questionner encore.
la technique pour rEdiger bonne thEse de umberto eco, dans ce livre, il y a le sens propre - (comment on peut Etudier diffEtent avec professoire?)
l'exemple de titre excellent: pourquoi on ne peut pas voir l'arc-en-ciel dans la pollution de l'atmosphEre.
il se courbe de intEneur des yeux.
quand on prend copie les livres Epais, on peut voir que il se fonce entre un page et l'autre page, il se courbe le lettre et le tableau. ce n'est pas faux. mais il est une tableau faux que on prend photo.
picasso et , ils dessinaient le tableau qui repartir les objets en beaucoup de parties. on a les yeux rond mais le verre de la camera est carrEe et le canvas est plat
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I have been successful in fabricating a mushroom structure from silver sheet, and am now hammering a container form for this piece of tableware. This work will become a shaker for some kind of spice powder, maybe pepper. The complex disc form will become a lid with holes/slots, which will lock when used and can be opened to fill the container. At this time the peice is about 50% finsihed.
My other thesis works will continue to focus on natural plant forms and patterns, with an emphasis on fertility, including seeds, spores, bulbs, etc. I am also interested in how plants distribute their seeds, how "form follows function" in nature in order to make sure that a seed can travel from the mother plant and the lifeform will continue to thrive.
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>
> Ҹ ̶ ߾.
>
> Ҹ ̶ ־.
>
> Ҹ θ Ϲε鿡 ˷ ռ ̾߱ ̶ غ, װ Ӹ ƴ϶ Ҹμ 鿡 ٰ ͵ ٸ ̾߱ ƴϱ ϰ Ǿ.
>
> 츮 ͵ ̾߱ ̶ Ѵٸ, Ϸ ٰ Ҹ ͵̶, Ҹ ̾߱ ̾ ͵ ڴٰ ߴ.
>
츮 ̹ Ҹ ÷ ̾ ̴.
츮ۿ غ ͵ ڴ. 417.Text ð Բ.
ϳϳ ϴ ǵ ۾ 뿡 ...
˸ ˼ ϴ
źӱ⸸ մϴ.^^
109.Access 2903 414.Access 1455 score.com ǽð -> world-score.com
ǽð -> world-score.com ǽ? 453.Text O Fortuna, velut Luna statu variabilis,
semper crescis aut decresicis;
vita detestabilis nunc obdurat et tunc curat ludo mentis aciem,
egestatem, potestatem dissolvit ut glaciem.
Sors immanis et inanis, rota tu volubilis,
status malus, vana salus
semper dissolubilis, obumbrata et velata michi quoque niteris;
nunc per ludum dorsum nudum fero tui sceleris.
Sor salutis et virtutis michi nunc contraria
est affectus et defectus semper in angaria.
Hac in hora sine mora cordum pulsum tangite;
quod per sortem sternit fortem,
mecum omnes plangite
̿, ó ʴ Ͽ,
Ŀٰ ۾±.
λ ó ٰ ϱ .
Ƶ̴ ״ Ƿ
ġ ó ƹ.
- Ⱬϰ
ʴ ,.
ູ ̸ õ
״ ±.
ʴ ֳ.
ºθ ڳ κ.
Ͽ ǰ ̴ Ҵ´ٳ.
Ȥϰ Ҿ 뿹¶.
鸮 ƴ⸮.
ڸ ߷,
̰ Բ 긮......
Carmina Burana
ca. 1230
opus
Carmina Burana, summa poetica medii aevi latini, collecta sunt circa annum 1230, fortasse in aula episcopi de Seckau (Austria). Usque ad annum 1806 manuscriptum in possessionem habuit monasterium Benediktbeuern (Bavaria), nunc bibliotheca Monacensis (Bayerische Staatsbibliothek M?nchen, clm 4660/4660a)
" о߿ 밡 ־ٴ 12 佺ī 13 иϰ ִ. п 츦 ִ. 12 ƾ , ϱ ƾ ù 帣 ü ⺻ οߴ Ż ̶ Ѵٸ . ̸ Ʈ 뷡 ī̳ ζ(Carmina Burana). 12~13 ǰ Ǵ ƾ 뷡, Ϻδ ġ Ǿִ."
Ż ȭ - θũ ϸƮ
" 'ī̳ '
ƾ 翡 İ 븮
ʹ ǰ 'εֳ ' ȭ 'Ƕ̵ ' ִ. ȭ Ǹ Ǹ ϴ ΰ ä ܿ ָ ʹ ϰ , ɾش. ȿ ', ̿' .
۰ (Karl Orff, 1895~1982) 'ī̳ ζ(Carmina Burana)' ùӸ â̴. ", ̿, ״ ó ϴ±. Ӿ Ǯ پ⸦ Ǯϸ ״ λ ߴٰ ٽ ش...." ȭ ̴ ƴ϶ ȭ ڵ 帣° ϸ TV ÷ Ѵ. ƾ ö 뷡 ̷ డó 츮 Ϳ ģ ־ ٷ 뷡 뿡 ִ."
, ູߵ - ̿
:
> 
> THERION - Deggial (Nuclearblast records 2000)
>
> Ҹ뷡 긮 2000 뷡
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>
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393.IP 211.192.67.233 395.Filename 56.Access 1084 244.Domain 61.72.78.238 387.Lines 11 11.Filesize 56.Access 999 466.Filesize 191091 426.IP 211.196.79.71 69.IP 218.235.60.236 387.Date 20050916022225 530.Filesize 100.Password SYBbs.Yy0J4eE 602.Lines 8 656.Access 276 485.Domain 210.123.35.123 152.IP 211.211.61.151 535.Thread 0 73.Email yhanjim@chollian.net 378.Email moen@kookmin.ac.kr 197.Thread 0 146.Lines 12 334.Name 5.Email knk2814@hanmail.net 764.Subject 1 764.Subject 111 764.Subject ... ݰϴ 656.Access 278 454.Text Ż̶ ƮB.B. Mandelbrot 1975 å ϴ ƾ μٴ ǹ Ըfrangere fractus Ͽ ̴ܾ. fractus ܾó μŵ ü ϰ ִٴ ǹ ̴. Ʈ Ż ؼ Ѵ.
Ż ̷ , ؾȼ , ġĹ ̳ ɾ ó Ŭ п ٷ ʾҴ ڿ ڱ (κ Ȯϸ ü Ÿ ) ´. ̷ ڱ Ϲ 1, 2, 3 ƴ϶, 1.4̶簡 2.7 (ު) Ϲ Ż ̶ Ѵ. ̹ ̾߱ߵ ĭ 0.6309(Ȯϰ ڸ log2/log3 )̴. ̰ Ѱ ̷ ĭ 0 ٴ ũ, 1 кٴ ۴ٴ ǹ̴. Ż̰, Ż Ư¡.
Ż ̳ ﰢ̳ ٸ ִ. Ŭ 迡 ǥõǴ . ̳ ü ü 3̰, 簢̳ ﰢ 2̸, 1̰, 0̴. Ż η ִ 1 2 ̳ ִ. Ҽ Ų Ż 1 . ĥ ڷ ̸鼭 ä 2 Ż . Ż ξ ĥ. Ż Ż ִ Ŭ ũ ʴ. Ϲ Ż ä ִ.
ĭ Ե () ٴ ϸ鼭 信 䰡 ۵Ǿ, ڵ ϰ Ƶ鿩 ڼϰ Ͽ. Ż ̼ θ ̸ ī ӿ ܸδ ó ̴ Ű ִ.
ī Ż Ż ī ̶ ִ. Ż Ư ִ.
ù°, ü κ ¸ . ڱ缺 κ ȮϿ ü Ҵ. κ ӿ ü ִ κ ü ݿϴ ݺ ǹѴ.
°, Ż Ģ, Ī ̴. ﰢ, 簢, , ´ Ȯϸ . Ż Ȯ?ϴ ܼ Ģ Ǵ ڱ缺 Ÿ. Ʈ ϸ þɽŰ Ŷ̳ κ ü Ȯ ġϱ ڱ糪 Ī ´ٰ Ͽ. Ż ڱ糪 ο ݺ ƴϸ ϼ ü ī 踦 Ÿ.
°, Ż Ģ/ Ģ, ܼ/⼺, پ缺/ϰ Ư ȣ ϰ ִ. Ż ī ϰ Ģ ܼ ݺ Ģ Ѵ.
°, Ÿ Ʈattractor Ż Ư ´. ١ Ʈʹ ȿ ߽ Ǵ Ų. Ư ߰ߵ η ƮLorenz Attractor ī ȭ ش.
http://www.fractal.co.kr/ 764.Subject Ȳ ٿ ** ** ** ̺Ʈ ҽ Ʈõ 264.Access 1854 415.Access 1179 ̺Ʈ ¶ī 764.Subject ̵ٿε ** * ** * ** ϻ Ȱ¼! ̺ī .. _.渶.....߸ 764.Subject nss700.comλ Ӱ ʹٸ īũ 渶.... _.渶.....߸ 764.Subject ϵ ٿε ** ** ̺Ʈ ¶ī 264.Access 1229 602.Access 1692 656.Access 1493 ī 78.Text 
Click this image (If you wanna read English data)
츮 Ǿִ
Arnold, David, Peter, Lisa y Little Diana. 1982.
Pearblossom Highway, 11-18th April 1986 #2 656.Date 20060425053731 132.Email knk2814@hanmail.net 695.Subject : ɻ ־. 421.IP 210.123.36.156 533.Lines 56 664.Password SY.XrZ59F5BSs 44.Name 62.Filesize 382.Date 20050914102011 195.Lines 12 274.Filesize 651.Access 1000 651.Access 1578 m 346.Access 999 @ie.hh 659.Text - ...
巯 ϳ .
ð 巯 ã,
,
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ٱ
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ã 뵿.
- Ÿϴ
ִ ͵ ִ°.
͵鿡 ͵鿡 ̾߱.
- ִ°͵ ִ , Ѵ.
, Ÿ
, ͵麸 ü̳ ϴ.
DZ ѷο װ͵ Ƹٿ
Ǵ, ʴ´ٴ°Ϳ ̾߱⸦ ϰѴ.
ݾ ϰ ֽϴ.
ѷ ֽϴ.
conf.Message ݼӰ 149.Subject Ż... ̾߱ 410.Access 999 469.Lines 16 548.Filesize 67068 539.Name 赿 385.Text
Ҹ ̶ ߾.
Ҹ ̶ ־.
Ҹ θ Ϲε鿡 ˷ ռ ̾߱ ̶ غ, װ Ӹ ƴ϶ Ҹμ 鿡 ٰ ͵ ٸ ̾߱ ƴϱ ϰ Ǿ.
츮 ͵ ̾߱ ̶ Ѵٸ, Ϸ ٰ Ҹ ͵̶, Ҹ ̾߱ ̾ ͵ ڴٰ ߴ.
410.Access 1272 346.Access 1091 kr 98.Text 2003 1б ȹ:
ݼ DZ 3.0 3ð
̼а ݴ Ǵ ׳ п
Ǵ gumnuri@chollian.net
ǥ:
ӿ ǥ ̾߱ϰ ϸ ۾ Կ ̳ ִµ ִ.
:
ϰ ϱ
:
Űƽ Ʈ ()1985
ǿ,
Friedrich Becker ǰ1997
ݼӰ Ͽ콺 1984
:
ڱҰۼ, 츮۹ٷξ б, ǿ ۼ б, õå б, ۼ
ȹǥ: 1~16
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Ұ ۼ ;
â, ,
츮
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16- (ǰ ǰȸ, )
349.Text Annelies Planteydt.
Tantalum źŻ. ǰ .ȣ73
45*23 Ƽ
1998 77.Date 20030411011047 195.Date 20030624200832 491.Email 390.Password SYpr/L7TUl35A 464.Access 1598 6.13.178 186.Email jy95craft@hanmail.net 444.Domain 211.196.81.102 113.Filename 142.Name ݴ 475.IP 210.123.35.123 337.Email 666.Filesize 23.Password 159.Access 780 89.IP 211.211.62.25 190.Access 227 236.Password SYJHP1uX5LeOk 657.Name ݴ 651.Lines 1 331.Subject ó ǰ 139.Domain 210.121.158.147 403.Lines 48 262.Text
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νŸ 뼺 ̷п ִٰ ϴ ̼簡 ִ.
ǿ ȴµ ִ 谡 ְ..յڿ ִ.
ݵ װ͵ ǰ̴١ ڼ ð ִ.
533.Date 20051221122233 410.Lines 25 159.Access 938 343.Thread 0 14.Thread 0 595.Filename 423.Password SYFv2vIPU8Lnc 654.Text Ư ̿. ݼ ʾ ¸ Ǹ ݼӺ ƿ. ϰ న ְ ̿.
ݴ ũ ˰ ִµ, ̺ ű ϰ ־. ū ۾ ;.
I feel mushrooms have a special character to them, they are almost like little figures. The patterns and forms in them are also enticing, and I feel that using an alternative material such as silicone gives it more sensitve qualities such as translucency and tactility that may not be as interesting if made by traditional metal techniques. I plan to try using metal through casting and electroforming but thusfar have been trying different things with silicone.
I still plan to use these forms for tableware and jewelry, and hope I can someday soon make larger works with the forms as well.
The above objects are more three-dimensional than the last ones I showed, using a cone form rather than disc. The silicone form is from pouring into the paper model and removing the paper. Originally I was going to use this negative form as a mold for other materials in order to make the paper form in another material, but will use these forms as well.
467.Text Ҹ'' ٰ ߴµ, Ҹ'' ߽ϴ.
߾ ̴ Ҹ''Դϴ.
̸ ʰ ̿ ̰ ־ Դϴ.
'' ؾ ٸ 츮 ڱ 켱 '' Ͽϴ.
ױ۸ ̴(Vinyl)̶ Ѵٴµ ̴̶ ȸ ̸, 츮 ϴ.
7dMoEn 536.Text
--
Ӹ
ϳ. ü ̹
.ö
.ü ̼(Biomorphic Art)
.μ ü ̹
.ü ǥ ۰ ǰ
. ٿ,
.
.
ǰ
ǰ
Ǹ
Ӹ
ڷ ̷ ִ. ̵ ̵ ̼ϰ ˰̰ ϳ 繰, ̷ ִ ̴. 繰 ٴ ִ νѴٴ ̱ Դ θ ϰ νѴٴ ̴. ƴϸ Ѵ. ν μ 翡 οǴ ̴. Ÿ ̴ Ϳ ϰ ϴ ǻ 鸸 Ϳ ġ ̴. ǽ ȹϷ 츮 ȥ ߾ ϸ ̴ 繰 ʴ 繰 ϴ Ƶ غ Ǿ ־ Ѵ. ߴ. ̰ ü ƴ϶ ڱ ظ ǥؾ Ѵٴ Ѵ. , ٽ 繰 θ ٶ Ѵ. ߴ. 繰 Ρ ϴ ִ μ ΰ ̶ . ܼ νϴ ̷ Ͽ () ϰ ϰ Ų. 鿩ٺ⡯ Ѵ.
õ,
繰 츮 ΰ ڵ ̷ ִ. ȿ پ ϰ , ϸ鼭 Ͽ ü Ȱϰ ִ. Ϲ ũ, , ü κп ٸ, κп ٸ. ̵ ⺻ ̾ ̰ Žϴ ϴµ ⺻ ȴ.
ü ⺻ Ǵ پ µ ϰ μ ڿ ǥϰ Ѵ. ߰ϰ, ڿ мٴ( κ ٴ) ü ̷ ִ ¿ Ÿ ִ ̹ ְ Ѵ. ӿ ¿ (λ) ̰ ǥϴµ ־ ΰ ִ. , ü μ ΰ νϰ ⺻ ΰ ǥ ϰ Ѵ.
ϳ.ü ̹
ڿ Ͽ ڽ ϰ â ֵ ִ Ƹ źο õ̴. о߿ ڿ ڿ ̸鿡 ϴ ü Ӿ ȭ ¸ ǥȴ. ǰ ǥϴ Ǵ Ŀ پ ְ ؼ , Ƹٿ ǥѴٴ .
.ö
̶ ΰ?ϴ ũ ù°, Ư °, ȭй ؿ ȴٴ ִ. ڴ Ưϴ ̸, ڴ , ȭ ۿ װ ٰſ м ϴٴ ̷̴.
ϴ ö ̰ ǰ Ͻϴ Ͽ غϰ â, ν, ô 屸 شٰ ߴ. ̷ ö ȸ ؿԴ ǿ ǰ õ鼭, ǾԴ Ű ϴ ö ν ϰ Ǿ.
װ ϴ ̿ ȸ ؼ ݹϿ öл, ȭ ȯ ϴ ð źϰ ٶν ø Ͽ. ̳ µ ϴ źϿ.
ſ ִ. 1907 ǵ â ȭ(Creative Evolution)' Ե ൿ(elan vital)"信 Ǿ ִ.
츮 츮 ̴. 츮 츮 ڽ â . Ѵٴ ȭѴٴ ̰, ȭѴٴ ̸, ٴ ڽ âѴٴ ̴. Ƿ ȭμ â ȭ ̴. ,[â ȭCreative Evolution]
ü ϰ, ó ܺο ־ ƴ϶ ü ο ִٴ ̴. ü ȿ κе ü ȭ ̷ 츮 ִ ̷е δ ľϱ ϰ ִ ̴.
ۿ ռ ũ(Lamarck) ̹ ־. ״ ü ڽ ó ȯ濡 ϱ ¿ ٷ ȭ ִٰ Ҵ. ȯ̶ غ , , ۿ뿡 ǿ ̻ ִٰ Ҵ. , ü º ɿ , ̸ ÿ ̾ Ѵٴ ̴.
ۿ ־ ϽõǸ鼭 , ȭ Ӽ ϴ ̴. ̸ ൿ̶ Ͽ.
̷ ״ ó ΰ ѵǾ ǽ Ը Ŀ鼭 ȸ ̶ ϰ ִ.
ߴ öл 20 ʹ ߽ ô 鿡 μ ҷ ״. ȸ ȥ ӿ ڵ ̼ ħϴ ٰŰ Ǿ.
.ü ̼(Biomorphic Art)
ȭ ̰ ü Ȱ ȸǴ Ͽ ΰ ߱ϰ ϰ, ڿ ٿ ǥ Ͽ ù̼ ܼϰ ǥ Ͽ.
20 , ̼ ̼ ڿ ܰκ ־ Ǹ鼭 ο ð ٰ Ƽ() Žϴ ư Ǿ. б ߴ( ̰, ) ڿ ̰̽ Ž ð 鼭 ο ð ߰ ߱ ϰ ̴.
̼ ̷ ̼ Ÿ ñ 1930 ĸ ߽ ϰ ϸ鼭 ǥ ϳ νĵǰ ־. , ڿĢ ãƼ ΰȰ ϰ Ͽ, ڿ ߸ Ҵ. ̷ ڿ ¿ ȯǾ ڿ ο Ž õϰ ȴ. ڿ źϰ ȥ ̻ ϴ (biomorphic), Ǵ (biomorphism) Ÿ Ǿ. ̵ κ ǽ ̹ ̰ ȭ ⱳ ·κ ǰ ӿ ϰ ϴ ̴.
κ ۰ ϵ ö ٿ , ̼ õǾ ־. ְ ¼ ִ ¿ ȭѴٰ Ӹ (Henri Bergon) ö Ӱ ΰ -Ż(neo-vitalisme) ڿ ü , , ȭ پ ϰ Ͽ.
۰鿡 ̹ ǥϴµ ־ ο ̸鼭 ڿ â â 缺 ִ ٸ ɼ 鿩. , ̷ ð Ϲ ǹ ü ¶ ʶ߸, Ͽ ο ü ¸ â ִٴ ɼ ɾ ־. ڿ ǥ ִ ü ϰ ϴ ̼ Ӱ DZ ϴµ ,̷ ü, ٷ, ٽ ڿ̳ ü ¸ س ̼ ̿ Ʈ(Biomorphic Art) Ѵ.
η ˷ο(Lawrence Alloway) ̿ Ʈ(Biomorphic Art) Bio:, ִ , ǹϴ , Morphorgy: Ǵ κ ̷ ̶ Ѵ. ̽(Edward Lucie-Smith) ̶ ڿ ӿ ߰ߵǴ µ鿡 ٰŸ ΰ ִ ұĢ µ ϴ ̶ ϰ ִ. ̿ Ʈ ü ƴ϶ ̼, ź, , ǽ âϱ μ Ǿٰ ص ƴϴ. ̿ Ʈ ǥǾ Ȥ ǽ Ϳ ° ü Űų ¡ϴ ¸ Ѵ. Ƿ ° ǰ Ƽ Ͽٴ ̿ Ʈ Ư¡̶ ִ. ߿ Ư (zoology) »(embryology) ã ִ Ƹٿ ô , ٿ ¿ Ĺ ¸ ǰ ҷμ Ͽ, ü ̹ ¡ ǹ̿ Բ ǥϿ.
̿ Ʈ ´ ü ƴ ̸ ° ִ ָŸȣ ¡ ̳ Ȥ ü ִ Ͻø Ѵ. Ϻ ºٴ й ̹ Ͽ ° ִ , ̹ ϰ ǥϴ ̴. Ƿ ̼ , ¡ ̼ 쿬, ո ÿ شٰ ִ.
.μ ü ̹
۰ ؼ ӵǰ ¸ ִ ȯ ־. ̳ öڵ, ̳ ź ǥϰ Ͽ.
̼簡 ÿ ̸, ´ ̴.(Life is form, and form is the modality of life) ߴ. ״ â̰ ¸ , ¸ (Life), (Movement), (organic) ϸ鼭, ü νϿ. Ӿ ȭϴ ӿ ϴ üμ ´ (metamorphoses) , Ӿ ݺ(recurrence)ȴ. ȭ ̴. ᱹ, ־ ´ ü, ٽ (vitality) Ǿ ִ ü νĵǾ ̴.
ü ȣ ڿ ִ Ĺ Ƽ Ͽ Ŀ ΰ ǥϿ. ó ̴ κ ¸ ϰų, ƴϸ ̻̰ ·μ ¡ ǥϿ ǰ ݿϰ Ͽ. ٴ뿡 ͼ ü ̷ ִ ٿ ߰ ü ü 巯 Ǿ, ۰ ϴ ¸ Ȯϰ Ǿ. ۰ ־, ȹ Ʒ پ â ־. ǰ ο ⺻ ̷ ִ ´ Ƹٿ ô , ¾
¡ ǹ̿ Բ Ư 巯 ִ ͵ ϰ Ǿ. ̷ ü ڷḦ ؼ ۰ ̰ ¿ ȯ Ǿ ռ ǰ Ȱ ̷ . Ư ü ̷ ִ ü , , , Ǵ ܰ迡 پ ִµ, űϰ ۰ ŷ ״.
. ǥ ۰ ǰ
̳ ߱ϴ Ƹ(Jean Arp,1886-1966) ڿ ӿ ߰ߵǴ µ鿡 ٰŸ ΰ ִ ұĢ µ ǥϿ. ǰ · ̸ ǥ ù̼ ã ִ ٿ̶ ¹.
̽ڴ â ǰݿ źο ݷ ϰ Ƴ ִ. ǰ ̰ · ϰ ǥǾ ִ.
߿ 縶(Yayoi Kusama) ǰ ұĢϰ ä ִµ ̴ ϴ ̹ ϰ ִ. ̷ ׳ ǰ ƴ 踦 ִ ϴ.
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274.Thread 0 190.Date 20030624005335 conf.ReadTitleBgColor #ffffcc 680.Domain 210.123.35.123 536.Subject ÷ ü ̹ ǥϱ 375.Domain 221.150.98.200 606.Email pangda82@hotmail.com 341.Date 20050610172345 67.Text IF YOU LOOK AT THE PRESENT DEEPLY ENOUGH, THE FUTURE WILL BECOME DISCERNIBLE.
I believe that style as a term is applied to objects by those who need the security of quantifiable definitions used for intelligently justifying their public views on taste and quality. Defining an object, or work, in this-or-that style comfortably allows works to be compared, contrasted, and catalogued with others, allowing an intellectual rationale to support an individuals contemporary sense of taste. There is no opportunity for an object to evolve along with changing living conditions once it has been associated with the specific cultural and social values of a lifestyle. The object then becomes an icon or artefact fixed in a particular period of time and space defined by the aesthetics of a style. It is a label applied after the object has been created; an epilogue written after the climax. An after thought that should not consciously prejudice the designers creative processes before the work is realised.
So then how can I use the term Organic Essentialism for describing my aesthetics even though that definition is not actively governing the methodologies of my creative processes? This paradoxical situation occurs because academia requires students to link-up with a historical chain of influences which apparently establishes a context for critically understanding their works. Therefore I selected this term because it best describes my philosophical approach towards design rather than the style of my works and its contemporary concept discards many historical relationships by focusing upon ever-changing human conditions.
The term Organic Essentialism (OE) was first printed as the introductions title for The International Design Yearbook 2002 (Laurence King Pub. 2002). It was used to describe the design approach of Ross Lovegroves work as well as providing a context towards understanding the works he selected for that years edition. However an examination of Designing the 21st Century (Taschen 2001) clearly expresses from many designers the ideological values incorporated into defining OE.
I NEVER USE THE WORD MODERN. THE CONCEPT OF MODERNITY IMPLIES AN UNDERSTANDING OF ANCIENT THINGS. I KNOW THIS SOUNDS LIKE A PARADOX, BUT IT IS SO.
It is merely simplistic to say that OE is a reactionary response to the style led / insipid anorexic quality of the last couple of decades minimalist designs. The continuing minimalist approach to design pronounces that the [form] is what is there not what seems to be there; therefore we must speak in terms of the work that brings it into being . From that you would be mistaken to think that by adding utilitarian, organic, reduced, soft, puristic, poetic, modular and nomadic elements to minimalist aesthetics evolves the form towards a new genre. If you did you would only be styling because altering the structure of the form does not substantially modify its aesthetic value or character.
Currently there many designers engaged in a transition phase from pure-minimalist aesthetics towards a modified-minimalist design approach. Karmin Rashid states,I feel that a new culture demands new forms, material and style. I define my work as sensual minimalism, or sensualism, where objects communicate, engage and inspire yet remain fairly minimal. They can speak simply and directly without superfluousness. My work is a marriage of organic and pure geometry. But I feel this approach, and others similar, are being cautiously applied as derivatives of minimalism due to the seduction-factor of market economics and consumers reluctance to engage in radical shifts in design. At the moment mass production is completely in control of the market, while we (the consumers) are looking for one-of-a-kind products. A beautiful product alone is not enough, we like to hear the story and see the marks of craftsmanship and not the influence of a styling designer. This dissatisfaction with fashionable / decorative / stylised products being slight variations of previous designs comes from a sentimental detachment born from the annual (quarterly) cycle of machine-made products recreating new statussymbol opportunities. Designers must re-evaluate the necessity of mass-produced products perpetuating the temporary and disposable scenes of a theatrical lifestyle.
Therefore we have to consider beyond the formal qualities of the object towards the needs that our human desires require by being transformed from social and environmental changes. Liberated from the concept of the object, design will be generated by a more complex system which will involve an understanding of situations and a permanent freedom of movement. This means that the object must be conceived more from a broader social / cultural perspective rather than specific aesthetic / functional considerations. The basic concept of the object has to grow from being a product or an accessory reflecting certain periods of our lives into becoming a holistic component of how we live our life. This opens up the probabilities for OE becoming an ideological approach evolving design within the borderless (global) influences from Information Technology (IT) and the Internet, rather than being motivated as a reactionary movement away from Minimalism.
The affects of ITs influence on the human condition will be comparable to the social changes following the developments of agriculture, urbanity, celestial navigation, gun-powder, the mechanical clock and the internal combustion engine. It will be the catalyst for fundamental shifts in the perception of our existence in mega-urban centres and our symbiotic relationships within nature. Less prophetically (and more poetically) Ross Lovegrove states, [the] process by which we are discovering new possibilities is being rapidly accelerated by computing technology a technology that we always knew would open our minds. Indeed, it is this concept of inevitability that intrigues me especially when applied to the world we see and touchour physical world. As boundaries blur, this world will become stranger and less predicable a fabulous prospect for those of us who believe that strangeness is a consequence of innovative thinking. The irony of all this is that ultimately, creativity generated by such soup-like freedom will lead mankind full circle back to nature, its organic composition, its purpose and with it forms that will no longer be limited by mans imagination.
I think his rational comes from a humanist awareness that we are all living in one planet (The Big Blue Marble) regardless of geographical, political, social, cultural and religious differences and that the Internet is the means for millions to communicate simultaneously. We are one species in one large eco-system with the technological ability to instantly communicate with all others and that (virtual) reality will concentrate the sublime scale of natures immensity. Once we may have felt helplessly subjected by natures unexplained power but now we can fully understand that our civilisation is adversely affecting nature. This global awareness is the re-connection to nature that I feel his opinion offers beyond the obvious design capabilities that computing technology continues to develop.
Advances in engineering and materials research have created possibilities to design spaces and products in harmony with nature rather than decorating the interior and exterior of cubed spaces we currently inhabit. The best architectural scale example of OE was recently completed in Singapore in 2002. The Esplanade, Theatres on the Bay, designed by D.P. Architects establishes a precedent for future public (and private) spaces by embodying a new naturalism of form that is based fundamentally on the concept of getting the most from the least while assertively radiating the sculptural line of things that exist in the natural world. On the smaller scale of objects / products, OE designs reflect something of the abstract essence of nature and possess an engaging tactility that invites physical interaction. It is that invitation that transcends the object beyond its functionalism towards a spiritual interaction with its user. That is when the product transforms from being an objectified it into being a personalised yours/ours/mine/my and the difference between being just another trendy stylised object and an integral life-living participant. In either scale the character of the form projects from within the value of its soul to those innate emotions of being and becoming within us.
A summary of Organic Essentialism as a meta-design concept subliminally underlying a designers (my) creative process needs to directly state the objectives of its various components. Firstly it marries sculptural forms inspired by ergonomics and elements from the natural world to a concern for the logical arrangement of only those elements that are absolutely necessary for the accomplishment of a particular purpose. The essence of the form is suggestive of natural elements while not being decorative or functionally minimalist. Functionality is no longer merely the simplification of use, but also implies all the plans we make in life, first and foremost on the spiritual level. This is why we can now speak freely about the functionality of the spirit. The beauty of the object provokes a feeling that constructs our life. This second component of OE understands that beauty is a projection of the soul of an object inviting a visceral engagement with our life. The third component suggests that [the] designer of the future should use references from his cultural background traditions, colours, history- so that his sproducts have an authenticity and originality that is not governed by fashion or global trends. These soul references will help products communicate more directly. When these references are combined with previously mentioned humanist values they will generate a familiar distinctiveness that characterises the soul of an object. The last component includes a human-touch through the quality of craftsmanship and references to the hand-made. This is easily achieved in my work but still remains important for animating the character of an object regardless of its manufacture.
These components of OE are not a checklist to be adhered to during the creative process but are an outline of a growing Western contemporary design philosophy that is underlying the aesthetic values of many designers besides myself. They represent a holistic approach to objects participating in an epicurean life rather than things perpetuating a transient existence based upon consumerism and disposability. The key to OEs longevity in influencing design aesthetics will be directly proportional to the skills of those designers assimilating its components into their visions and inspirations and unconsciously combining them into the parameters of any given project. One such designer already on the forefront is Ross Lovegrove and his humble admission describing the sources of his inspiration will end this section on Organic Essentialism.
THERE IS AN ABSOLUTE BEAUTY IN ORGANIC FORMS THAT STIMULATE DEEPLY WITHIN THE SUBCONSCIOUS. I AM MOVED BY THE HONESTY AND RICHNESS OF SUCH FORMS WHICH CELEBRATE THE THREE DIMENSIONAL EFFECT OF OUR LIVING IN HARMONY WITH SPACE.
Ron Arad. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 41.
Antonio Citterio. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 116.
Peter & Charlotte Friell. The International Design Yearbook 2002 (Laurence King 2002) Pp. 6.
Enzo Mari. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 310.
Werner Aisslinger. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 31.
Karmin Rashid. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 407.
Arnout Visser. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 529.
R. & E. Bouroullec. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 88.
Ross Lovegrove. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 297.
Peter & Charlotte Friell. The International Design Yearbook 2002 (Laurence King 2002) Pp. 6.
Peter & Charlotte Friell. The International Design Yearbook 2002 (Laurence King 2002) Pp. 7.
Peter & Charlotte Friell. The International Design Yearbook 2002 (Laurence King 2002) Pp. 7.
Peter & Charlotte Friell. The International Design Yearbook 2002 (Laurence King 2002) Pp. 6.
Riccardo Blumer. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 82.
F. & H. Campana. Designing the 21st Century. Edit. Charlotte & Peter Friell (Taschen GmbH 2001) Pp. 111.
Ross Lovegrove. The International Design Yearbook 2002 (Laurence King 2002) Pp. 7.
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580.Text - la signature sur le canvas
il est un tableau ou une signature?
lee o-dek -la utilisation correcte de corEen
umberto eco -la technique pour rEdiger bonne thEse
* il faut que on va lire ces livres.
Q: vous avez savoir quelquechose d'essentiel en CorEe?
taegukgi(un drapeau en CorEe du sud) s'agite au vent pourtant l'essence du pay, il est CorEe.
il y a beaucoup de mot environ 6000 sortes des langages. on ne peux pas exprimer beaucoup de situation variEe avec un langage comme l'anglaise.
le corEen, ce n'est pas un langage uniquement pour CorEe parceque, il a le sens indEpendant et alors, il est important de conserver corEen.
- le sens de la saison -
bom - printemps - voir yeorum - EtE - porter des fruits
gaul - automne - partir gyeoul - hiver - ?? (c'est devoir ^^)
la rEflexion est important sur l'essence. Le corEen, il a l'histoire splendide plus de 5000ans donc, la graine de rEflexion d'ancEtre, il vit en corEen intErieur.
c'est dommage qu'il disparaIt beaucoup pendant la colonie Japonaise. il est important d'utiliser le corEen correct et nEcessaire qu'on pense en corEen chaque fois qu'on pense quelquechose.
bit-gal - couleur - division de la lumiEre
moogigae - are-en-ciel - prendre de l'eau
ha-yang - Blanc - venir du soleil
cca-mang - Noir - venir de la suie
ppa-gang - rouge - venir du feu
pa-rang - bleu - venir de la mer
no-rang - jaune - coucher du soleil
jaji - gEnitaux - grandir sans manque
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