• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.221-226
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• 2023

Can art really change the way people understand and interact with nature in order to reduce the possibility that ecological disasters will continue to expand due to failure to correct human actions that damage the global environment? What is the artistic methodology to realize environmental justice and sustainability of life on Earth? This paper seeks to find answers to these questions. Finding ways to look at, feel, understand, and act for the global environment, that is, the process of considering the way of orientation toward the global environment will lead to critical thinking of the history in which human centered behaviors treated nature as a resource for exploitation rather than a source of life. Therefore, this paper pays attention to the ecological art of The Harrison Studio, which is called the 'pioneer of the environmental art movement'. In the main body, The Harrison Studio's major projects are analyzed to find ecological implications and aesthetic strategies. In particular, their dialogical methodologies are demonstrated in detail. To this end, the significance of various collaborative practices of The Harrison Studio is explained. The Harrison Studio contributed to expanding the scope of practical experience and understanding of the value of eological art. They have the power to look back on the direction of ecological consciousness by constantly producing mutually connected and overlapping epistemic dimensions without being limited to any uniform rules of exchange.

• Journal of the Korean association of regional geographers
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• v.12 no.2
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• pp.305-322
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• 2006

An increasing number of cities employ rescaling strategies that not only construct metropolitan production network scaled down from national context, but also tune up new governance to effectively control local geographies of the city. In this context, urban redevelopment has emerged a key 'global' strategy to empower governmental institutions of the city, which not only eliminate such threatening spatial variables as deteriorated housing, working-class ghettos, and crime areas, but also increase and extract exchange value of those spaces. I view such practices a process of 'glurbanization'. This paper investigates how state/city government employs the discourse of urban re/development for 'inventing' poverty at an urban scale: how it institutionalizes the discourse for implementing concrete projects: and how urban institutional apparatus appropriate their discursive practices of redevelopment for their own ends in the city. By particularly focusing on the California Redevelopment Law and the Community Redevelopment Agency of the City of Los Angeles, this paper analyzes the ways in which the law and the agency extract value from what they define 'blight areas' by means of eminent domain and tax increment revenues. For empirical analysis I employ discourse analysis and institutional ethnography. I conclusively argue that the urban spaces stigmatized as 'blight areas' are increasingly entrapped by the urban redevelopment agency, which extracts increased exchange value from the areas and redirects it for supporting external investors, private developers, and the body of the agency itself.

• Journal of Korean Philosophical Society
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• v.137
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• pp.131-149
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• 2016

The main purpose of this paper is to inquire into Johnson's defence of naturalistic ethics, and show how it could escape the intractable conundrum that has bothered moral philosophy ever since the early 20th century. Johnson shares the deconstructivist stance in claiming that moral theories are largely metaphorical constructs, and thus their claim to absoluteness is ungrounded. However, Johnson breaks with deconstructivist philosophers by offering a need for a constructive inquiry into "moral understanding." Then, Johnson's recent discussions are more concerned with moral fundamentalism in which he argues, is not only cognitively incorrect but immoral. It is incorrect in that it relies on the false assumptions on human cognition, and is immoral in that it shuts off any moral discussions. Instead, Johnson sees moral experience as a matter of moral deliberation in which we attempt "dramatic rehearsals" in Dewey's terms. Johnson's constructive offer in moral philosophy reminds us of "the size of moral theory," which fits human moral understanding as an embodied being, and this presents a third constructive way over the dichotomous conundrum of moral philosophy between traditional absolutism and nihilistic deconstructivism.

• The Journal of Korean Philosophical History
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• no.36
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• pp.173-202
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• 2013

In Korea The understanding about physical body contains several cultural and historical experiences. In the modern times several discussions bring about changes from moral training to physical education. Physical education shows clearly modern physical human being by destructions of confusional human being. In confusional philosophy human body contains moral facts such as moral training. Moral training shows right mind, so every physical acts target mental and cultural training. So in this capitalism, it is needed o training right moral training and right physical education.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.77-92
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• 2001

현대의 건축시기는 다원성의 시기 또는 복합성의 시기라고 불리운다. 모더니즘과 포스트모더니즘의 시기를 거치며 다양한 형태적 실험의 과정을 겪었고 수많은 이데올로기와 이론들로 무장된 논쟁의 역사도 갖게 되었다. 이러한 현대건축의 다양성은 건축디자인이라는 전문직의 사회에 기여하는 역할을 반추(反芻)함과 동시에 다변하는 인간사고의 역동성을 반영하고 있다. 건축관련 책자나 저널 등에서 흔히 발견할 수 있는 Neo-Classicism, Deconstructivism, Minimalism, High-Tech, New Moderns 등등의 건축양식들은 스타일을 지칭하는 언어라기보다는 건축적 사고를 지칭하는 언어라고 할 수 있다. 결국 건축디자인이라는 작업은 인간을 둘러 싼 건조환경의 생성에서 출발하는 것이므로 건축적 사고방식은 그 시기의 사회현상과 밀접한 관계를 맺게 된다. 20세기 말부터 불어닥친 디지털 문화의 사회변혁은 전 세계를 하나의 채널로 엮게 되었고, 이러한 영향들은 지역과 민족, 그리고 종교적인 요소들까지도 혼합하여 국경을 초월한 미래의 새로운 이상들을 꿈꾸게 되었다. 19세기 산업혁명과 함께 급속히 벨라진 인류문명의 진보는 필수적으로 세계화를 동반하는 것이고, 세계화와 지역성사이의 괴리를 통해 나타나는 문화적 비판과 충돌은 아직도 진행상태인 것이다. 세계화라는 통염은 문명의 보편성을 기반으로 하며 전통문화의 파괴가 뒤따를 수밖에 없는데, 현재와 같이 IT혁명을 통해 급속도로 빨라진 세계문화의 교류는 한 국가가 뿌리를 내리고 있는 문화적 유산이라는 토양을 포기하여야 할 단계에 와 있다고 논평할 정도이다. 여기서 건축은 문화적 상징으로 작용하게 되는데, 그것이 심미적이든 관습적이든 또는, 경제적이든 건축가는 해답의 제시라는 임무에 직면하게 된다. 20세기에 진행된 모더니즘의 건축은 구조와 공간에 대한 고전건축의 숙원을 고덕건축이 이룬 것처럼 15세기 르네상스 시대로부터 진행된 형태와 공간, 기능, 그리고 아름다움과 기술(technology) 또는 경제성 등에 대한 건축적 의문과 탐구를 일단락지었다고 할 수 있다. 이러한 모더니즘의 한복판에 Mies van der Rohe라는 거장이 깊은 발자국을 남기며 한 시대를 이루었고 그가 남긴 시대정신의 이념과 가치를 Miesianism이라고 부른다. 실용성과 도덕성을 근본으로 하는 Miesianism은 대중에 호소하는 미적 표현주의를 부정하고 지역정서를 중시하는 문맥적 접근방식을 경시함으로써 보편화라는 현상을 불러일으킨 국제주의 양식의 한 부류로 비판을 받아왔다. 즉, Miesianism의 단순하고 강렬한 외형적 요소는 그것이 내포하는 기술적 합리성이나 공간적 완결성을 무시한 채 전 세계에 영향을 미쳤고 동시에 지역적 저항을 받게 되었다. 시카고 및 전 세계의 Miesian들, 즉 Mies van der Rohe의 제자들이나 그로부터 영향을 받은 수많은 건축가들은 이러한 저항과 비판에 직면하게 되며 새로운 사고의 시대적 요구 앞에 고뇌하게 된다. 한국에서는 1978년 Mies van der Rohe의 제자인 김종성이 미국에서 서울로 돌아와 '서울건축컨설탄트'를 설립하며 본격적으로 Miesianism의 규범적 건축론을 설파하기 시작하였다. 이른바 시카고 국제주의학파의 건축전수라고 할 수 있는데 '서울건축컨설탄트'를 통하여 배출된 김종성의 제자들은 명쾌하고도 간결한 건축해법의 경험을 토대름대로의 정체성을 갖고자 노력하였으나 결국 다원적 가치를 요구하는 시대적 흐름 속에 혼란을 겪고 있는 것 또한 사실이다. 본 연구는 Miesianism의 기원을 밝히고 그것의 실수와 오류를 밝힘과 동시에 현대의 여러 가지 건축유형들과 비교하여 봄으로써 Post-Miesianism의 실체와 그 미래에 대하여 고찰하여 보고자 한다. 미스의 유산이라고 할 수 있는 Miesianism의 요체는 첫째, Schinkel로부터 이어받은 시대정신의 사명감, 둘째, Berlage가 전해준 전문가로서의 도덕성을 바탕으로 하여 이루어진 기술적 합리성의 실현, 그리고 마지막으로 그 당시의 추상예술에 대한 이해로써 받아들인 nee-Suprematism의 아방 가르데적인 자세라고 할 수 있다. 그러나 이것들을 전파하고 수용하는 과정에서 미스적인 단순하고 명쾌한 외관이 더욱 강한 인상을 남기게 되었고 또한 미스가 현대성의 본질이라고 믿는 기술의 전수는 모든 외관을 동일하게 만드는 International Style로서의 보편적 획일성을 초래하였다. Mies van der Rohe의 강력하고 규범적인 dogma는 그의 제자들에게는 강렬한 카리스마로 각인되었고, Mies가 원한 것이 아닐지라도 그들을 하나의 틀 속에 가두는 영향력을 행사하였다. 2세대이든 3세대이든 기술적 합리성과 추상적 단순미라는 믿음을 맹목적으로 추종할 때 그들은 Miesian으로 남아있게 되며, 거기서 벗어났을 때 non-Miesian, 또는 배신자로 취급하기까지 하였다. 이것은 미스의 제자들에게 강한 족쇄가 되어 형태적 또는 개념적 변화의 시도를 어렵게 하였고 시대적 요구에 부응하지 못한다는 평가에 이르게 되었다. 문화의 다양성과 역동성을 인정함과 동시에 Miesianism에 대한 새롭고 시대에 적합한 해석을 기대하게 되는데, 이러한 기대 속에서 우리는 Post-Miesianism이라는 새로운 유형을 엿볼 수 있게 된다. Post-Miesianism의 징후를 현대의 다양한 건축유형에서 발견할 수 있는데, High-Tech의 구축적이고 정밀한 건축 기술적 해법과 Minimalism의 반복성을 통한 추상미의 표현 등에서 뿐만이 아니라 Post-Modernism의 인간성의 추구나 문맥적 고려, 또는 해체주의의 형이상학적이고 아방가르데적인 실험주의 정신까지조차 Post-Miesianism이 공유할 수 있는 부분이 있다고 보여진다. 또한, 미스의 영향이 2세대, 3세대의 건축가들에게 미치면서 여러 방향으로 변질되어 가는 것을 우리는 발견할 수 있으며 그러한 시대성에 적응하는 시도들이야말로 새로운 미래를 향한 Post-Miesianism의 실체인 것이다. Mies가 말하였듯이 한 시대의 끝은 그 시대가 완전히 이해되었을 때이며, 모더니즘의 숙제는 아직 해결되지 않았으므로 Miesianism의 탐구는 Post-Miesianism이라는 새로운 주제로 계속될 것이다. 이를 통하여 21세기 디지털 문명의 시대 속에서 현대건축이 안을 수밖에 없는 보편성과 지역성의 충돌이라는 문제의 해결에 한 발걸음 다가갈 수 있기를 기대하여 본다.

• Korean Association of Arts Management
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• no.58
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• pp.5-47
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• 2021

This paper is a story about five middle-aged men in their 50s who suddenly began their photographic activities as they reached middle age. In the perspective of Borudieu's cultural capital theory, this study observes five men in their 50s by implementing in-depth interviews about the motivation behind taking photographs, the experience of photography activities, and the rewards of these activities. The theory has undergone a theoretical revision with the criticism that factors other than the class can be influential. Based on these ideas, I have proceeded my study by preferentially grasping the notion of the 'field' in accordance with the specific history of Korean society. Therefore, this study sought to more specifically understand the various photographic activities of middle-class men in their 50s by referring Coskuner-Balli and Thompson's argument(2013), which revised 2018's cultural captial theory and proposed the concept of 'subordinate cultural capital' and 'leisure capital' who proposed by Backlund, E. A. & Kuentzel, W. F.(2013). As a middle-class men in their 50s, research participants have grown up and worked in a social atmosphere where economic capital is recognized as an individual's ability. However, they are faced with the value that the knowledge and taste towards culture and arts is one's identity. In addition to the subjective deprivation that arises from this situation, the lifespan characteristic of their age that it is on the brink of the old age appeared to have influenced them to put their psychological motivation immediately into practice. Economic capital was the main conversion terms to move form interest to practice, which includes 'time' as a resource as well as money. With the cultural practices being expanded since their creation of photographs, the reason that these expansions can be maintained more actively lies in their identity as 'cultural artist' that is consolidated in new relationships in the sharing of photographic activities. In this way, photographic activities grant a symbolic status of 'a middle-aged man who actively builds and expresses his identity' through the conversion of accumulating cultural capital and the conversion into social capital. Furthermore, the recognized scope of the symbolic capital acquired by the research participants is in the domain of the private life that is family and acquaintance. Especially, they were gaining a great psychological reward from their children's recognition that they are not just a 'breadwinner' but 'dad who cultivates himself with a culture and arts'. Accordingly, by considering that 'generation' other than class can be a meaningful discussion point when understanding Korea society from the perspective of cultural theory, this study is meaningful that a more flexible understanding of cultural theory can give a glimpse into the possibility of a more specific and diverse approach that will arise in the discussion of culture and arts education.

• Journal of the Korean Geographical Society
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• v.29 no.2
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• pp.166-182
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• 1994

Kyonggi Province in the late Chosun dynasty was a center of superior government offices including 'Han' River water-road transportation and was located in the middle of an 'X'-shaped arterial road network. Because of these reasons, Kyonggi Province had a faster inflow of commodities, informations and technics compared with the other province. At this period of time, every local 'Eup' (name of administrative district) had not been affected by their above administrative districts and had their own autonomy. For this reason, every 'Eup' could be developed as a town, even if its size was small when it had sufficient internal growing conditions. Moreover, the markets ('Si-Jon') in big towns and periodical markets which were spread over the Kyonggi Province played role of commercial functions of town. And because military bases for the defence of the royal capital in Kyonggi Province also took parts of a non-agricultural city role, Xyonggi Provinc had much more possibilities of growing as a town rather than the other provinces. The towns of the late Chosun Dynasty were, except the capital and superior administrative districts which were governed by the 'You-Su', small towns which had only about 3, 000-5, 000 people. Most of the town dewellers were local officials, nobles, merchants, craftmen and slaves. And the farmers who lived near town became a pseudo-towner through suburb agriculture. Among these people, the merchants were leaders of townization. The downtowns were affected by the landform and traffic roads. The most fundamental function of towns were administrative. The opcial's grade, which was dispatched to the local administrative district ('Kun' or 'Hyun'), was decided by the size of population and agricultural land of each county. Large county which was governed by a high ranking opcial had more possibilities to develop as a large town. Because they supervised other opcials of lower rank and obtained more land and population for the town. The phonomena of farm abandonment after the Japanese Invasion of Korea in 1592-1598 stimulated the development of towns for commercial function. The commercial functions of towns were evident in the Si-Jon or Nan-Jon (names of markets) in the big cities such as Hansung and Kaesung, meanffwhile in the local areas it was emerged in the shape of periodical market networks as allied with near markets (which were called as Jang-Si) or permanent markets which were grown up from periodical markets. These facts of commercial development induced the birth of commercial town. Kyonggi Province showed the weak points of its defense system during both wars (Japanese Invasion in 1592 and Manchu's Invasion in 1636). The government reinforced its defense system by adding 4 'You-Su-Bus' and several military bases. Each local districts ('Eup'), where Geo-Jins were established, were stimulated to be a town while Jin-Kwan system were, adjusted and enforced. Among Dok-Jins(name of solitary military bases), Youngjongjin was grown up as a large garrison town which only played a role of defense. The number of towns that took roles of non-agricultural functions in Kyonggi Province was 52. Among these towns, 29 were developed as big towns which had above 3, 000 people and most of these towns were located on the northwest-southeast axes of 'X'-shaped arterial trafic network in the Chosn Dynasty, This fact points out that the traffic road is one of the important causes of the development of towns. When we make hierarchy of the towns of Kyonggi Province according to its population and how many functions it had, we can make it as 6 grades. The virst grade town 'Hansung' was the biggest central town of administration, commerce and defdnse. The 2nd grade town includes 'Kaesung' which had historical inertia that it had been the capital of the Koryo Dynesty. The 3rd grade towns include some 'You- Su-Bus' such as Soowon, Kanghwa, Kwangju and also include Mapo, Yongsan and from this we can imagine that the commercial development in the late Chosun Dynasty extremely affected the townization. The 4th-6th grade towns had smiliar population but it can be discriminated by how many town functions it had. So the 4th grade towns were the core of administration, commerce and defense function. 5th grade towns had administrative functions and one of commercial and defense functions. 6th grade towns had only one of these functions. When we research and town conditions of each grades as the ratio of non-agricultural population, we can find out that the towns from the 1st grade to 4th grade show difference by degree of townization but from the 4th grade to 6th grade towns do not show big difference in general.

• Journal of Korean Philosophical Society
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• v.130
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• pp.135-159
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• 2014

This article has the purpose of clarifying that Rollo May's existential psychotherapy is based on Kierkegaard's concept of anxiety in philosophical aspects. May makes use of Kierkegaard's concept of anxiety to establish his own existential psychotherapy. May points out that Freud's concept of anxiety is too technical in comparison with Kierkegaard's concept of anxiety. Freudian theory accepting anxiety as the cause of repression overlooks the importance of human relationship which brings about repression. May mentions the presence or absence of object to distinguish fear and anxiety. Kierkegaard and Freud also mention that the presence of object is called fear and the absence of object is anxiety. May interprets anxiety ontologically. Succeeding Kierkegaard's comment on nothing/non-being, May insists that anxiety is the experience of Being affirming itself against Nonbeing. May interprets Kierkegaard's concept of freedom as the possibility or potentiality in terms of similar meaning. May argues that Anxiety is the situation when faced with the problem which human being will achieve his potentiality. Kierkegaard's concept of freedom is also associated with sin at the same time as the freedom associated with anxiety. Succeeding this, May discusses the relation of guilt feeling and anxiety is the flipside of the coin. He understands that guilt feeling is not a pathological symptom but an evidence of the human being's possibility. Kierkegaard's The Concept of Anxiety has a sub-title which is 'a simple psychologically orienting deliberation on the dogmatic issue of hereditary sin'. This shows that he understood the relationship between anxiety and guilt as dilemma that can not be separated. Through this study, I want to clarify that May's concept of anxiety which is the most important concept in his existential psychotherapy, is derived from Kierkegaard's concept of anxiety.

• Journal of Korean Philosophical Society
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• v.142
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• pp.1-25
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• 2017

Kant's doctrine of virtue shows how an actor should behave morally in an individual situation with moral law defines the limits of human action. There is latitude for action in the course of formulating the maxims of action by an actor. And moral judgement, as Aristotle's Pronesis, is very important in the latitude for action. In the doctrine of virtue, Kant suggests two kinds of duty of virtue: one's own perfeciton as an obligatory end, and the happiness to others as an obligatory end-and raises the question of casuistics for each. However, this was the practice and training for the human moral life by application of the moral law. In particular, Kant saw that ethics does not give laws for action, but only give laws for the maxims of action, and further intended to realize the practice in a proper way of seeking truth through casuistical questions. Thus, Kant points out that the casuistic is related only to ethics in a fragmentary way and is added to ethics only as a comment on the system. According to Kant, virtue and judgment are inevitable to apply categorical imperative in the empirical and realistic world. In other words, virtue and judgment are necessary to enable people who are likely to act in accordance to inclination to live a moral life in accordance with the command of reason. Thus Kant saw that in order to take wide duty into narrow ones, human beings must not only have to cultivate virtues as a strong power of will, but also to exercise judgment. In addition, the distinction between duty of law(narrow obligation) and duty of virtue(wide obligation) is dependent on whether there is a latitude for action in the application of both duties. So the role of virtue and training of judgement is very important in the latitude for action that occurs in the process of formalizing actor's maxims. In detail, as the duty is wider, so man's obligation to action is more imperfect, but the closer to narrow duty(Law) he brings the maxim of observing this duty(in his attitude of will), so much the more perfect is his virtuous action. Thus, it was an effort to show how Kant's best moral principles, that is categorical imperative could be applied to the real world at the time of criticism. Of course, even if it is difficult to assess Kant's efforts as successful, criticizing Kant's ethics as 'formal', 'abstract', or 'monologous' is not persuasive because of critics did not understand his ethics as a whole.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.