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공동 작업에 의한 디자인 프로세스 실험 연구 : 3을 주제로 한 Versus Book Project를 중심으로
강소은 디자인 여성학회 2012 디자인여성학연구 Vol.7 No.1
디자인 행위의 의미는 그 결과보다는 원천과 과정에서 찾을 수 있으며 디자인 과정을 개선하는 행위 자체가 창의적인 작업으로 이어질 수 있다. 본 연구는 디자인 프로세스에 적용할 수 있는 사례로 공동 작업을 통한 디자인 과정을 제시한다. 이 과정은 ‘Versus’를 주제로 한 수업 프로젝트에서 진행된 것으로 세 명의 작업자가 공동으로 작업하였다. 주어진 주제를 일대일 대응관계에서 셋의 대응관계로 재해석하고 두 유형으로 분류하여 각각 세 가지의 프로세스를 적용하였으며 ‘공동 조합’, ‘디렉터 선정’, ‘공통 규칙’, ‘직관적 수용’, ‘합의 후 전달’, ‘단계별 역할 수행’ 등 총 여섯 가지의 디자인 프로세스를 실험하였다. 결과물을 예측할 수 없다는 점을 공동 작업의 어려움으로 볼 수 있었으며 이를 극복하기 위해서는 상호간의 신뢰와 커뮤니케이션이 전제되어야 한다. 공동 작업을 통한 디자인 프로세스에서 다양한 의견을 교류함으로써 시야를 넓힘과 동시에 다른 작업자와의 비교를 통해 자신을 파악할 수 있으며, 이는 자신의 스타일을 확립하고자 하는 단계의 디자이너에게 필수적인 부분이라고 생각된다. 따라서 디자인 교육 과정에서도 공동 작업의 핵심인 커뮤니케이션 능력의 향상을 위해 지속적인 훈련을 할 수 있는 과정이 필요하다고 본다. The meaning of designing act can be found in the source and process, rather than the results, and the act itself to improve the design process can lead to creative work. This study is the case of being applied to the design process and suggest the design process through group work. This process proceeded in a class project with the theme of 'Versus', working with three co-workers together. A given theme was reinterpreted from one-to-one corresponding relationship to three corresponding relationship, categorized into two types and applied to three process. Total of six design process such as 'joint union', 'directing', 'common rule', 'intuitive acceptance', 'consensus and relay' and ' performing a role by step' were tested. The difficulties of predicting the outcome was the issue of collaboration and in order to overcome this issue, mutual trust and communication was a prerequisite. By exchanging diverse opinions in the design process through group work, the range of vision can be expanded and at the same time, grasping oneself is possible compared with other workers, and this is essential part for designer who are, I think, in the phase to establish one's own style. Consequently, in the process of design education, it needs the course for training the improvement of communication skills consistently which is the core of group work.
강소은 유럽문화예술학회 2012 유럽문화예술학논집 Vol.3 No.1
This thesis is a study on the female images of Leonor Fini(1908-1996), one of female surrealists who appeared in the 1930’s, the age of the late surrealism. Before the period, women had been regarded as outsiders in the long history of art. Fini has such family backgrounds as growing up under a single mother, a resultant over-dependence on her mother and a disguise in her childhood as a boy to thwart her father' s threat to kidnap. Her background includes a mixed blood of Italy, Argentina and France. Those personal backgrounds harrnoniously match with the traits of surrealism succeeding Dadaism which denied the tradition and demanded a new order. In the middle 1930' s, Fini left Italy, where she had been raised for Paris. As other women artists did, she individually and personally associated with many surrealists. But like other female surrealists, she declined to join a group of surrealists headed by André Breton(1896-1966), out of disappointment in a male-dominant hierarchy of the group. Although we may well say that surrealism put more emphasis on women than any other preceding trends in art, it is true that female artists were isolated in the movement of surrealism as dominated by males. For a group of male surrealists led by Breton, women were regarded only as playing a role of the muse who inspired creativity. This thesis start with the analysis on how the images of female changed in the trends of art history and what was the concept of female held by male surrealists in connection with changing trends of the art. Among other things, the thesis reviews specifically the image of female as portrayed in Fini' s works by Fini who is one of the leading female surrealists representing the 1930' s. The thesis delineates the backgrounds of Fini with a focus on how the image of female found in Fini’s works came to emerge in her life. We can see that her personal backgrounds in childhood and her association with surrealists and female artists in Paris explain to a great extent how her image of female was formed. The main purpose this thisis is to examine the pattem of the surrealistic psychology that is unique to Fini, centering on the works she produced after she encountered surrealism during the 1930s among her artistic activities as a female surrealist artist. A group of young female artists emerging in the 1930’ s, tried to embody the image of female with independent icentity, not as the muse in a role of inspiring male artists with creativity. We can ascertain such efforts in works by Leonora Carrington, Frada Kahlo, Remedios Varo and others. Fini was one of the artists representing that trend. In spite of her strong affirmation that she was not a surrealist, the image of female contained in her works undeniably shows that she was influenced by surrealism. Especially just as a surrealistic integration of life and death, the synthesis of opposite things was depicted in Fini's works as the image of female with both creative and destructive images. A detailed analysis shows the change in the images of female in her works. Early works done in hometown, before she came to Paris appear to have been strongly influenced by Italian pittura metqfisica and do not expose any particular emphasis on the image of women with their own identity. Her early works, however, paid more attention to the image of female than to that of male and her female images contained the femme fatale with an ingredient of the image of female found in her later works. After Fini started associating with surrealists in Paris, she portrayed in her works mainly women in a powerful image with a beautiful appearance, exclusive of any males. Her works includes the positive image of a goddessor a female priest with creative and divine natures, the fearful and destructive image of a sphinx or a sorceress and the image with a sexual implication of sadism toward men. Such images characterize her works as clearly distint from those of male surrealists. The ...
외음부의 실리콘액 주사에 의한 폐출혈 및 급성 호흡 곤란 증후군 2예
강소은 ( Kang So Eun ),용석중 ( Yong Seog Jung ),이원연 ( Lee Won Yeon ),신표진 ( Sin Pyo Jin ),김미혜 ( Kim Mi Hye ),박학천 ( Park Hag Cheon ),심명숙 ( Sim Myeong Sug ),최현민 ( Choe Hyeon Min ),신계철 ( Sin Gye Cheol ),임미애 ( 대한결핵 및 호흡기학회 2001 Tuberculosis and Respiratory Diseases Vol.51 No.2
윤현진(Hyun Jin Youn),김진수(Jin Soo Kim),이재명(Jae Myung Lee),강소은(So Eun Kang),정순희(Soon He Jung),한병근(Byoung Geun Han),최승옥(Seung Ok Choi) 대한신장학회 2001 Kidney Research and Clinical Practice Vol.20 No.4
The association of malignancy with glomerulonephritis is well known. The most frequent observed renal lesions associated with malignancy are the membranous glomerulonephritis on carcinoma and minimal change nephrotic syndrome on Hodgkin's disease. Recently, IgA nephropathy associated with liver disease, connective tissue disease, gastrointestinal disease, dermatologic disease, hematologic disease and malignancy were reported. But the relationship between malignancy and IgA nephropathy is not clearly resolved. Here we report a case of IgA nephropathy associated with early gastirc cancer. Successful treatment of early gastric cancer didn't completely resolve the IgA nephropathy but led to a significant reduction of hematuria and loss of proteinuria. Therefore we suggest that a certain association between IgA nephropathy and early gastric cancer can be made by studying the course of the disease.