• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Journal of Korean Philosophical Society
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• v.130
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• pp.187-218
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• 2014

Nietzsche stellt in seiner Philosophie den "${\ddot{U}}bermensch$" als existenziales Ideal des Menschen sowie als Menschentyp der Zukunft und "die ${\ddot{u}}bermenschliche$ Zukunft" als Zukunft des gesunden Menschen vor. Der ${\ddot{U}}bermensch$ und die ${\ddot{u}}bermenschliche$ Zukunft beinhalten in Nietzsches Philosophie den Sinn des gesunden Menschen und seiner gesunden Zukunft. Nach Nietzsche kann dieses gesunde Ideal durch die aktive Praxis des Menschen endlich verwirklicht werden. Nietzsche unterscheidet das aktive und das passive Verhalten des Menschen und leitet daraus die zwei $gegens{\ddot{a}}tzlichen$ Menschentypen her, also den aktiven Menschen (Herr der Moral des Lebens - geistig Starker) und den passiven Menschen (Sklave der Moral des Lebens - geistig Schwacher). Aber die Typologie dieser anthropologischen Differenz zielt nicht auf die Dualisierung der absoluten Differenz, sondern auf seine relativistisch-relationale ${\ddot{U}}berwindung$. Auf diese Weise setzt die philosophische Anthropologie Nietzsches im Grunde seine eigene praktische Philosophie voraus. Ferner bestimmt Nietzsche den Menschen als Zwischenwesen, das $hei{\ss}t$, dass der Mensch in Also sprach Zarathustra an der existenzialen Grenze zwischen Tier und ${\ddot{U}}bermensch$ und in seiner anthropologischen ${\ddot{A}}sthetik$ an der ${\ddot{a}}sthetischen$ Grenze zwischen $Versch{\ddot{o}}nerung$ und $Verh{\ddot{a}}sslichung$ des Lebens steht, sowie als $M{\ddot{o}}glichkeitswesen$, das an dieser Grenze durch die existenziale $Selbst{\ddot{u}}berwindung$ und die ${\ddot{a}}sthetische$ Selbstgestaltung in jedem Moment seine $Ver{\ddot{a}}nderungsm{\ddot{o}}glichkeit$ $sch{\ddot{o}}pferisch$ verwirklichen kann. Das Ziel dieser Arbeit ist es, aufgrund Nietzsches anthropologischen $Verst{\ddot{a}}ndnisses$ die anthropologische Methodologie zu $er{\ddot{o}}rtern$, die er $f{\ddot{u}}r$ die Verwirklichung der immanenten $Ver{\ddot{a}}nderungsm{\ddot{o}}glichkeit$ des Menschen in seiner Philosophie vorstellt.

• Sijohaknonchong
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• v.43
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• pp.177-206
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• 2015

This paper is written in order to research for the contents and expression of HanYongUn's Sijo. HanYongUn is very famous as monk and independent campaigner, modern poet in Korea. He wrote many kinds of literary works, for example, many modern poetry, modern novels, Sijo, Chino-Korean Poetry etc. It's very exceptional that he wrote a lot of Korean traditional Sijo and Chino-Korean Poetry. Because he was a many modern poet as same as modern novelist. So studying on his Sijo can help someone to understand the essence of HanYongUn's all literature. That's why I'm studying on HanYongUn's Sijo. The firstly, in aspect of the the contents of HanYongUn's Sijo, HanYongUn was expressing three kinds of themes, that is ideology, reality, daily life in his Sijo. The ideology consists of Buddhism and Confucianism and the reality is related with social conditions, the daily life is deeply connected with Nim. These features of his Sijo are different from his modern poetry and Chino-Korean Poetry which had a simple theme, for example, love with Nim, daily life. The secondly, in aspect of the expression of HanYongUn's Sijo, I studied the expression of HanYongUn's Sijo in three angles, that is, vocabulary and the developing of poet thinking, rhetorics. HanYongUn used essential words for expressing three kinds of themes effectively in his Sijo. And he was developing of his poet thinking by three steps in his Sijo. He applied several representative rhetorics to his Sijo, those are question and answer, exclamation, irony, distich etc. Even though I studied the characteristics of HanYongUn's Sijo in two aspects But there could be the other things to study about these kinds of theme. I might continue researching the other kinds of theme next time in the near future.

• Cross-Cultural Studies
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• v.44
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• pp.411-430
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• 2016

One of central issues in the Literature and Science discourses during the Victorian era is the relation of physiology to psychology. Many thinkers tackle the question of whether or not psychic phenomena can be reducible to their physiological bases. For instance, Victorian physiologist William Benjamin Carpenter claims that there should be a boundary between physiological and psychological qualities. Yet, his contemporary writer Grant Allen contends for the reduction of psychology into physiology. In the essay, I discuss Grant Allen's work Physiological Aesthetics (1877) so as to eventually problematize his physiological reductionism. I especially highlight the paradox of his physiological aesthetics. In order to clarify my argument, I introduce two concepts: evolutionary aesthetics and physiological reductionism. On the one hand, Allen argues for the development of aesthetic appreciation. The gradual evolution from gaudy to serene colors, for instance, reflects the fine differentiation of sensory organs. He believes that the existence of varied aesthetic pleasures corresponds to the evolution of sensory nerve structures. Nonetheless, Allen ironically gives more weight to the commonality of aesthetic experiences than to this teleological ordering of aesthetic experiences. He argues that there is no fundamental difference among humans in terms of their aesthetic assessments. Furthermore, there is even no essential distinction among plants, animals, and humans in light of their aesthetic appraisals, he states firmly. Although he asserts the gradual advance of aesthetic feelings caused by the intricacy of nervous systems, he simultaneously trivializes the evolution of aesthetic appraisal. In the essay, I highlight this paradox in Allen's physiological aesthetics. It should be underscored, lamentably enough, that Allen seeks biological purity by erasing fine lines among physiology, psychology, and sociality. He estranges aesthetic experiences from subjective variations and their socio-cultural contexts. He makes great efforts to eliminate individual differences and socio-cultural specificities in order to extremely biologize aesthetic experiences. Hence, Allen's physiological aesthetics is marked as the politics of physiological purification.

• Trans-
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• v.7
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• pp.19-48
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• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Archives of design research
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• v.16 no.3
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• pp.329-340
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• 2003

The purpose of this study is to provide the methods of harmony in color combination of environmental color for apartment in order to improve the image of the urban landscape. For this study, apartment in Iksan City was selected is a sample and twenty two apartments were analyzed. This framework of this study is A. Hard and L. Sivik's color combination model based on Natural Color System. This study examines various theories on environmental color perception and new approaches to color aesthetics, and tries to present perceptual properties that can be applied to environmental color design First, the principle of color harmony feeling in based on nuance and tone. Therefore, to control brightness and chromaticness with are related with nuance is important in color combination. Second, the aesthetic experience in color preception can be defined as a combined effect of similarities and differences of color attributes. Third, color harmony theory is one of the areas that can be benefit a great deal from and interdisciplinary approach, add empirical study such as this can be used as a basis for environmental color design and evaluation.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.76-88
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• 2020

Since the pre-existing music itself used in has no direct relation to the film, it raises the question of whether it was properly utilized as film music. The purpose of this paper is to clarify that 's 20th century modern music effectively fulfills the role of film music through iconicity with images. This study approached the similarity between the character of fear and the form of music through Hanslick's formal aesthetics to discuss the use of 20th century modern music in the horror film. The formal characteristics of music are observed in the movement of notes, which are similar to the fearful state of mind mentioned by Heidegger. In the analysis, the stagnant movement and the continuity of notes, the special playing method of the musical instrument, the unspecified trembling of the clustered notes, the melody of the weak intensity in the high-pitched range, the smash of percussions, and the progression of the notes that deviate from the center confirms the aptitude of 20th century modern music in the horror film. The fact that this study did not simply rely on the emotions represented in the 20th century modern music, but thoroughly caught the movements of the notes, has great significance in the research of film .

• The Journal of the Korea institute of electronic communication sciences
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• v.6 no.1
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• pp.68-76
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• 2011

Today the new social and cultural area is generated by development of digital media and internet. Especially UCC is the new cultural area of this time, UCC is applicated and delivered the individual image and contents by digital equipment. This research tried to study the communication esthetics with the relation of a user. And it study about the function of the media communication, the cultural possibility, the value by art of UCC. From now I have not to see the UCC media technology the level of technical limit and we see it variously the level of cultural and artistic. I study the meaning of them and try the analysis. And I will study about the communication between the individual and the community. And I will study also the short aspect and the synthesize aspect of digital network, and how possible the realization of free culture. And I will analyse the meaning and system of UCC contents that product and copy today and then I will suggest that contribute the UCC culture development.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.22 no.1
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• pp.3-4
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• 1996

오늘날 화장품 산업은 역동적으로 끊임없이 변화하고 있다. 화장품은 한 사회 구성원들의 다양한 욕구, 가치관 및 생할양식에 영향을 미치며 심지어는 국가의 정치적 기후나 경제적인 상태를 나타내는 지표역할을 담당하기도 한다. 즉, 화장품 과학은 예방의학, 건강과학이라는 차원에서 뿐만 아니라 미적인 차원에서 새로운 상품개발이 진행되어갈 것이다. 지금 우리는 21세기를 향하여 1990년대의 중반기에 들어섰다. 80년대는 물질 문명의 중심으로 생활의 질의 풍요로움을 추구하였으나 90년대는 소비자 우선의 풍요로움을 향수하는 시대가 되었다. 또한 여성이 사회진출, 고령화의 급속한 진전, 고 학력화, 개인의 가치관 존중 및 많은 생활패턴의 변화가 마음의 풍요로움을 구하는 사람들이 늘어나고 물질적 의존도로 부터의 탈피가 크게 강조되고 있다. 이에 마음의 풍요로움을 창조하여 연출하는 화장품산업의 역할이 고기능성에 의한 부가가치를 높이고 마음의 풍요로움을 지원하기 위한 연구개발에 중점을 두고 진행되어 가고 있다. 화장품을 여성들의 치장이라고 하는 주체적 행위에 도움을 주는 하드웨어라고 한다면 소비자의 마음은 소프트웨어로써 소비자 입장에서 만족할 수 있는 전략을 구사하는 아이디어가 있어야 하는데 그에 상응하는 대책으로 스킨케어를 들 수 있다. 스킨케어란 병든 피부를 제외한 여러 가지 유형의 피부를 화장품과 미용기기를 이용하여 그에 맞게 예방관리 하여 건강하고 아름답게 보호 유지하는 전문 분야이다. 즉, 스킨케어는 화장품 이용을 통하여 미래의 소비자들의 다양한 비용 욕구 및 소망에 효과적으로 대응할 수 있는 소프트웨어라고 할 수 있다., 또한 스킨케어는 화장품 뿐만 아니라 신체적 접촉을 통하여 안위를 제공하는 수단으로 단순한 피부손질이라는 문제에 그치지 않고 접촉을 통해 마음과 신체의 균형을 꾀하는 생명현상의 심층과 연관되는 중요한 의미가 있다. 스킨케어는 불어로 Soin Esthetique 라고 하는데 어원을 보면 손질, 처치, 보살핌 그리고 배려를 의미한다. 지금으로부터 200년전 독일의 미학자인 Baumgarten이 미는 인간에게 만족과 쾌감을 주는 대상이며 미는 보는 사람의 마음에 있다라는 감성의 미학에서 Esthetique라는 단어를 처음 사용했다. 다시 말하면 Soim Esthetique는 인간의 마음 만족과 쾌감을 주는 배려 있는 조치로써 여성이 화장을 함으로써 외모의 조화에서 마음과 신체의 균형을 꾀하는 생명현상의 심층과 연관되는 것과 마찬가지로 에스테틱과 화장의 심리는 매우 땔래야 땔 수 없는 불과분의 밀접한 관계라 볼 수 있다.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.