지도는 인간의 시야를 초월한 범위의 지표 상태를 과학적 근거에 의해 제작한 것으로, 지도제작에 관한 기술은 측지학, 지리학, 측량공학, 인쇄공학 등을 배경으로 하는 지도학을 근거로 광범위한 과학기술의 분야와 밀접한 관계가 있다. 지도학이란 지도제작에 관한 과학ㆍ기술ㆍ예술ㆍ지도이용 등에 대한 학술분야를 총칭하는 것으로, 광의적으로는 측량ㆍ지도편집ㆍ지도제도ㆍ지도인쇄 등의 모든 공정을 대상으로 하고, 협의적으로는 지도편집 이하의 공정을 대상으로 한다. 본고는 근현대 한국을 중심으로한 지도제작 기술 가운데 제도기법의 변천에 대해 지도제작 현장에서의 경험을 바탕으로 한 연구 결과이다.

The rapid development of digital technology makes it possible for fashion to combine new materials and technologies that maximize visual effects. In particular, the development of various fashionable technologies, which advocate a strong experimental nature of forward-looking images, have appeared in various ways by varying costumes with multi-functional concepts which have never seen so far, or interactive fashions. This study identifies formative features and the implicative meaning of inflatable fashion by escaping from traditional methods and function of costumes to analyze various types of inflatable wear that have function and form vary depending on the situation. Since the 1960s, new PVC and polyurethane materials and the development of high-frequency sewing technique enabled the mass production of inflatable products in rides and household goods that produced inflatable costumes to trigger a new visual interest in fashion. Inflatable wear, launched from a space look, has combined with digital technologies since 2000. Inflatable wear, one of various concepts of shifting wear, can transform function and form using a sensor in given circumstances that enable a focus on transformation. Therefore, it has been changed using multi-functionalities that can cope with a varying environment. The first type of inflatable wear, which represents an expansive simple costume image, is expressed as a swollen and expanded type such as part of skirt or jacket or dress. The representative work is ‘Kinship Journeys’ (2003-4 A/W Collection) published by Hussein Chalayan, which expresses the extension of simple forms and the extension of concepts. The second type of inflatable wear is a form conversion by remote control where the form was expanded by air insertion. However, this type has been produced by performance costumes that focus on immediate variability through digital technology. Diana Eng’s ‘Inflatable Dress’ is a work that shows a visual form conversion that highlights soft silk chiffon materials to plastic-looking materials with improvements in a flat silhouette to an extended three-dimensional structure. The third type of inflatable wear is the usage conversion type of multifunction concept. It is expressed by a function shifting design that uses a multipurpose concept through a conversion of usage and form. A sleeping bag, the representative work developed by C.P Company, can be used for multiple purposes such as a parka that wraps the full body or also acts as an up-and-down separable jumper; a sleeping bag form at bedtime and a bag form when moving. An analysis of inflatable wear types showed the following results. First, inflatable wear is an enlarged concept of costume different from traditional conventional costume stereotypes that creates an expanded communication and exchange space to express the garment of wrapping human bodies in liberal and various ways. Second, fashion combined with technology acts as a multifunction that actively introduces mobility and variability in costumes and expands the meaning and concept of fashion. Third, inflatable wear fashion is expressed as a performance arena moving forward from an experimental fashion show form that shows a distinctive difference before and after air insertion. Fashion design is identified as a method to stimulate human emotion and exchange mutual feelings and as a multi-purpose device that allows the protection and concealment; consequently, it is the best method to create visual stories that express the socio-cultural trends and conditions.

Nowadays, Korean culture affects fashion cultural industry. Furthermore, art and fashion collaborate considerably more now than in the past. Korean fashion experts and fashion cultural industry have mainly focused on global tourists. Fashion cultural products that promote the image of Korea synthesize both traditional and contemporary traits of the Korean culture (Cho, 2007), which reflects cultural and economic values. Hallyu, which means ‘Korean Wave’, has been a popular trend of Korean cultural contents on the global market. The target market of the contemporary Korean fashion clothing has mostly targeted global tourists. However, traditional products dominate over a few contemporary products on the Korean cultural product market. This study focuses on the contemporary Korean fashion clothing that are designed and reinterpreted in our times. When these designs become available on the market, they can excite more interest both in the fashion industry and among the consumers. This will help highlight the importance and potential of the present-day Korean cultural products. The purpose of the study is to figure out effects of contemporary Korean fashion clothing attributes on consumer response and consumer behavior. Contemporary Korean fashion clothing attributes are divided to Korean culture, fashion/practicality, creativity/uniqueness and design/aesthetic traits. Consumer response is to see the affective and cognitive response. Also, consumer behavior is to see preference and purchase intention. In the study, the data was used to conduct exploratory factor analysis and reliability analysis with SPSS, 21.0 and Amos 18.0 was used to conduct confirmatory factor analysis and structural equation modeling for testing the hypotheses. The results revealed fashion/practicality, creativity/unique attributes had positive effect on affective response and creativity/unique, design/aesthetic attributes had positive effect on the cognitive response. In addition, affective and cognitive response had positive effect on preference but only affective response had positive effect on purchase intention. Lastly, preference had positive effect on the purchase intention. The implications of this study would stimulate the expansion and further development of the Korean contemporary design market. However, as a limitation of research, limited category of product was used so more various kinds of fashion category can be used for the future research.

Self-defence has long been understood as an inherent right of a State when it is militarily attacked by another State. After September 11 attacks, however, there have been attempts to reinterpret the meaning of ‘armed attack’ under Article 51 of the UN Charter to include attacks by terrorists - non-State actors. This paper critically examines the legal and policy considerations that promote a right of self-defence against terrorists by means of thoroughly analyzing the text of the UN Charter, State practice and the jurisprudence of the ICJ. The paper finds that a terrorist attack as such may not be an armed attack within the meaning of Article 51 of the Charter unless it is an act of a State or directly imputable to a State and is on a large scale with substantial effects. The paper concludes that unilateral use of force against a State in the name of self-defence is not the correct way of combating terrorism and that there are effective alternatives such as addressing the root causes of terrorism, resorting to law enforcement mechanisms or coercive countermeasures, and strengthening multilateralism.

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of ‘science of emotion and sensibility’ was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

Treaty interpretation is one of the most crucial roles of international dispute settlement bodies. They can decide the case in the most reasonable way by legally justified interpretation of treaty. In some cases of the WTO and the ICJ, there exist certain types of facts which closely relate to the evolution of the meaning of a term. This research compares the four ICJ cases to the two WTO cases in order to ascertain both similarities and dissimilarities of those cases. Significant is the dissimilarities concerning the related principle on the economic or environmental aspect enshrined in certain agreement. In the context of the WTO dispute settlement, the contemporary meaning could only be adoptable after adequately justifying treaty interpretation by means of the two-step semantic generic-related interpretative approach. Without the second step of principle-related analysis, problems may arise especially from the economic perspective.

面对暴力，诗歌的反应应该是果断且带有自我反省的。但是毛泽东时期的中国诗歌，却背弃了人文主义，以掌权党派的工具自居。文学与政治之间的这种特殊关系，根源在于“政治第一”的原则。而问题在于，由于政治第一原则贯穿于韩国战争直到天安门诗歌，工农兵直接进行创作，知识分子诗歌遭到摒弃，诗歌实际上出场扮演了加剧政治权力主导下的阶段性二元对立的角色。这一时期的中国诗歌之所以在语言形象暴力化过程中表现出一种积极的惯性，也是由于同样的原因。创作诗歌去迎合权力的战略目标，才是为了人民，为了正义，才是在历史面前道德纯洁的表现。政治将现实与记忆的关系糅合在一起，所以这一时期中国诗歌的暴力形象，在内容和形式上都显现出了超越阶段的同一性。更重要的是，它将人性本身设定为与阶级性敌对的反社会，反历史范畴，从而导致在很长一个时期内，甚至讨论这个问题都成为了一种禁忌。更何况暴力的诗歌定型化过程中，所有参与其间的诗人，都对毛泽东，中国共产党，中华人民共和国的绝对价值以及为所欲为的权能相结合的三位一体笃信不移，这种类似宗教的狂热已经深入骨髓。墨家的上下关系，再现为领袖，党组织，人民大众的关系。也正因为这一点，对现实和历史的浪漫因盲从化身为谎言，诗歌中呈现的暴力，反映了现实需要的多种内容和属性，或者说反映了政治局势的要求和应对。这一时期诗人的诗歌选择中看不到自我完善，因为对于现实，这一时期的创作不是自为的，而是自在的。

우리가 정보를 수집하고, 서로 상호작용하고, 우리의 정체성을 만들어 가는 방식은 점점 현재 인터넷상의 많은 사이트에서 사용되는 개인전용화 알고리듬에 의해 형성되고 있다. 개인전용화 알고리듬은 우리 자신의 관심사를 우리에게 공급해 줌으로서 각각의 개인에게 가장 연관되는 정보를 제공해 준다는 것이 개인전용화 알고리듬이 가진 문제이다. 이것이 만드는 피드백 루프는 개인의 정체성에 중요한 영향을 미칠 뿐 아니라, 개인과 집단 간의 관계에도 영향을 준다. 본 논문은 톰슨 앤 크레이그헤드(Thomson & Craighead), 라파엘 로자노-헤머(Rafael Lozano-Hemmer), 마닉스 드 나이스(Marnix de Nijs), 다니엘 로진(Daniel Rozin) 의 예술작품을 살펴보고 알고리듬 피드백 루프가 개인적, 집단적 행동, 자아에 대한 이미지와 세계관, 그리고 집단 정체성에 미치는 영향을 분석한다. 궁극적으로 본 논문은 순환적인 과정의 구조와 특성을 재구성함으로써 개발될 수 대안들을 모색하고자 한다.

This study attempted to figure out the usage of the modular system in other fields through literature review and empirical study, analyze its structural method in fashion. After analyzing architecture & product-related books, the Internet data and previous studies, the modular system's five structural methods were obtained. Then, 991 photos of women's clothes from 2003 to 2014 were collected through the fashion websites in Korea and abroad. The results can be summarized as follows: First, the following five structures were derived: assembling structure, overlapping structure, arrangement structure, inserting structure and folding structure. Second, according to analysis on the structural method of the modular system in modern fashion, overlapping structure (34%) was the most common. Third, in fashion, the use of fastener for installation and removal is important for assembling structure. In terms of overlapping structure, 3D volume by vertical accumulation was commonly observed. Arrangement structure revealed a horizontal and flat shape through simple arrangement. In inserting structure, on the contrary, non-standardized modules were used as a part of clothes or decorative elements. In folding structure, origami technique for reduction and expansion was used.

Emerging markets represent a significant part of the world economy and tend to expand their share, but they are still not well examined. Specifically, one of the BRIC economies, Russia seems to be avoided in the overall marketing strategy academic discussion. According to Sheth (2011, p. 7) market orientation and relationship marketing are marketing strategies that have become mainstream for empirical research in marketing. But existing research shows that these marketing strategies have hardly been investigated in–depth in Russian context for the last twenty years. The purpose of this paper is to test Contemporary Marketing Practices model in Russian market. Classification scheme of marketing practices is based on “Contemporary marketing practices – CMP” methodology: TM (Transactional marketing, DM (Database marketing), IM (Interactive marketing), NM (Network marketing) and RM (Relationship marketing) (Coviello et al, 2002). Thus, main research question is to reveal what types of marketing practices (transactional, data based, interactive, relational or network) are more often used by Russian companies. Paper is based on empirical data (quantitative study of 329 Russian companies). Cluster analysis was conducted to show that types of marketing practices are common for Russian market: transactional, relational or interactive.

Entering the twentieth century, corsets began to disappear with the tendency of concentrating on slim bodies and youth. As corsets proceeded to be discarded, they began to be internalized as a means of controlling the body; 'muscular corset' takes hold. However, the internalized corset increasingly appears to be externalized again in contemporary fashion. This study investigates how natural body is reconstructed as socio-cultural image drawing on the relationship between the signifier and signified of corset. As for the research methodology this study conducts literature survey to investigate the internalization of corset. This study proceeds to examine the subjects of fashion collections from 1980 to 2010 and samples the outfits which represent the externalization of corset through case analysis. Through the discussion of the study, the relationship of signifier and signified in the externalization of corset is argued as follows: first, by maintaining signifier and signified of the traditional corset as underwear, aggressive eroticism of corset has been observed, second, by perceiving corset as the agency of the body, fetishism of corset dissociates the function of sexual object from corset while distorting the relationship of signifier and signified, third, through embodying the notion of muscular corset literally, the ironical representation of corset as a torturing device of female body deconstructs the traditional relation of signifier and signified of corset.

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is “a dialog between the past and the reality”(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment.As the saying: “Poetry is greater than history”(Aristoteles), artistic works more intensively refect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fne arts and the works of the contemporary Chinese artists—Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the “identity” of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fne arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s’ works. In this way they tried to recompose the history “randomly”, like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and “reappearance” of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fne arts through the study of the icon image of CR and to analyze the way of fne arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article “Icon and Form”. It means how to reshape (the present) the typically formed icon of the CR (the past).

본 연구는 바그너의 총체예술 개념에서부터 정보예술의 개념에 이르기까지 총체정보예술 개 념의 구성적인 틀과 그 특징을 도출하고, 현대 무용사례인 윌리엄 포사이드의 <Synchronous Objects for One Flat Thing, Reproduced>(2009)를 논의대상으로 작품 속에 드러나는 총체예술적 속성과 매체미학적 의미를 해석하고자 하였다. 포사이드의 작품은 2000년도 그가 무대버전으로 창작한 것을 온라인상의 정보예술의 형태로 발전시킨 것으로 무용수의 춤추는 신체 없이도 신체적 사고가 가능하다는 포사이드의‘안무 오 브제’개념을 예증해주는 작품이다. 총체정보예술로서 포사이드의 작품은 다음과 같은 다섯 가지 의 매체미학적 논의를 불러일으킨다. 첫째, 작품 속에서 실현되는 춤 움직임의 데이터화는 모션캡처와 같은 동작감지기술이 단순한 춤의 양적 외형적 데이터를 추출해내는 것과 달리 춤에 내재된 비가시적 요소 특히 질적인 속 성을 드러내며 춤에 내재된 안무적 사고와 지식의 영역을 가시화한다. 둘째, 디지털화된 춤 정보는 형태적으로 매우 무관해 보이는 20가지의 시각적 오브제로 표현 되지만 본질적으로는 하나의 춤 정보로부터 발생된 동기발생물이다. 셋째, 웹을 기반으로 한 작품으로서 춤의 선형적 전개방식을 해체하고 관객은 예술가가 정해 놓은 느슨한 의미의 틀 안에서 자신만의 해석을 완성해 나아간다. 넷째, 네트워크망을 기반으로 전통적인 관조적 예술감상 방식에서 분석적인 방식으로 작품을 감상하고 몰입한다. 종결된 작품으로서가 아니라 감각적 형태를 지속적으로 변화시키고 창조해 가는 생태학의 논리가 발견된다. 다섯째, 총체정보예술로서 포사이드의 작품은 단순히 춤 데이터의 재생산이 아닌 춤을 중심으 로 하는 새로운 매체작품의 탄생과 예술의 통합을 주도한다.

This study aims to identify characteristics of neo-naturalism coming from periodical changes in the 21th society, culture based on naturalism and analyze the expressional and design characteristics of neo-naturalism on 2000s. For a research method, this study researched development of naturalism in fashion, and searched digital naturalism and ecology which are design paradigm effecting on neo-naturalism through literature research and preliminary study. Analyzing preliminary study on architecture, interior, fashion about digital naturalism and ecology design, concept of neo-naturalism identified and four expressional characteristics of neo-naturalism was classified, actual examples of neo-naturalism in 21th fashion were extracted and drew design characteristics. The results are as followings. Firstly, naturalism described nature as it is and developed according to the values and needs of the times. Naturalism in fashion showed natrual human body's curve, nature pattern and used natural materical focused on ideal beauty of nature. Secondly, neo-naturalism renews with the foundation of digital culture and ecology design paradigm, and focuses on the flexible possibility to express nature with digital, new media and formative art, and made the artificial nature uniting human-nature-environment as organic whole by ecology design paradigm. Thirdly, design of neo-naturalism divided four characteristics, nature's organic form, combination with the technology, ethical harmony with nature, global local design. The first characteristics of the nature's organic form are expressing silhouette of the nature's organic volume abstractly, the second ones of the combination with the technology are reinterpreting primitive nature contemporary with artificial sensibility of high technology, the third ones of the ethical harmony with nature are showing simple design and high-touch, and the forth ones of global local design are expressing cultural hybrid preserving vernacular design.

In 1922 new curriculum standard, it establishes the principle of mixed teaching of vernacular and classical Chinese, Ye Shengtao, Zhu Ziging, and Lu Shuxiang think mixed teaching method is detrimental to Chinese teaching, and vernacular and classical Chinese should be taught separately, the teaching material should also not mixing the vernacular and classical Chinese, hence they compiled three books of “Kaiming’s Classical Chinese Reader” which only select classical Chinese literature and six books of “Kaiming’s New Chinese Language Reader” which only select vernacular Chinese literature in the 1950s. 30 years after “Kaiming’s Classical Chinese Reader” was published, in the 1980s, since there was no same property books that could replace this one, hence a new edition of “Classical Chinese Reader” is compiled and printed. Why can it exist for so long and so favored? And compared with Taiwan’s major Chinese Books published by publishers such as Tung‐Ta, Lung‐Teng and Tai‐Yu, what are the characteristics of its style, material selection, and organization? Whether there is any part that is worth learning from about its editing and selection thoughts?  This paper plans to sample some selections of literature from “Kaiming’s Classical Chinese Reader” and several Chinese Language books which have higher market ratio in Taiwan, and compare their similarities and differences, and further discuss how we can improve and refine our selection and editing method on Classical Language Textbooks for current time. 

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are post-medium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms—contemporaneity, post-medium, and postproduction—that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don’t disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at “the postproduction in the age of post-medium age after postmodernism,” I first explore Krauss’s notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss’s post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists’responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud’s text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

본 연구는 매스 미디어가 문화변천에 어떤 영향을 미치는지 살펴보고자 한다. 문헌 검토를 통해 현대 문화변천과 매스 미디어와의 상관성을 세 가 지의 연구 문제로 설정하였다. 특히 이 연구는 문화적 인식 변화와 문화변천에 도 움을 주는 매스 미디어와 정치, 사회변천, 세계화, 경제 발전과 미래 문화에 매스 미디어가 미치는 영향에 대해 검토하는데 주요 목적이 있다. 매스 미디어는 우리 에게 이미 어느 정도의 통제가 가능하고 더 편리해져서 문화변천에 다양한 방향을 제시한다. 따라서 매스 미디어는 문화진화와 실천 과정의 직접적인 수단이라 할 수 있다. 특히 문화변천에 대한 매스 미디어의 영향은 사회, 경제, 정치 그리고 모 든 국제화 사업과의 조화로운 융합에 성공함으로써 매스미디어가 문화적 가치 및 경제적 가치를 실현하는데 중요한 영향을 미치는 것으로 나타났다.

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's <Merde d'artiste> to David Hammons' performance <Pissed Off>, excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in <Pissed Off> by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.