• 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.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.111-127
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• 2009

The purpose of this study is to understand the importance of exterior influential factors and kunstwollen(artistic will) of fashion designer. In order to investigate the differences which based on periodic backgrounds, social influences, cultural actualities and kunstwollen, Vivienne Westwood, Issey Miyake and Hussein Chalayan who have different social and cultural contexts are selected. Also through this research, people would understand the clothes has the values as the art works which have philosophy of creator and recognize the importance of fashion as an intermediation for comprehension of history, society and culture. Vivienne Westwood presents her honor to British history and culture in the way of her unique interpretation. Also she expresses the authority and the pride of woman who lives in the present age. Issey Miyake accomplishes the harmony of human body and soul. He attains the most perfect beauty through incomplete beauty of cloth. Hussein Chalayan produces his fashion works as a form of concept which is keep asking question about existence of human being. Fashion is the work of art which Is based on the relationship between clothes, human body and spirit. The fashion designer makes human life has value through his or her creations and tries to communicate with the world.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.115-126
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• 2009

This study is about the iconological analysis on woman and clothes of Richard Avedon's and Cindy Sherman's constructed photographies which have questioned about life and existence of woman and present new visions about woman in comtemporary society and culture. The woman in R. Avedon's disguises herself with clothes, while the woman in C. Sherman's changes herself depending on the circumstances. R. Avedon reveals the inside of woman and ego with his gaze. The woman in his photography is reborn as another-self and communicates with the viewer through her eyes. C. Sherman has cast doubts with a woman's point of view in the way of making herself as an object in her works. C. Sherman has presented a new way of thinking about woman's body and ego. The viewer gives feminity and identity to the woman in C. Sherman's photography who has kept asking a question about woman-herself. The identity of woman in the photography has been changed depending on what she is wearing, what she is doing and where she is. Like this, the clothes which she puts on becomes another-self and also expresses life and dignity of the woman.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.11
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• pp.176-186
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• 2017

The subject of this study is to search for the improvements or solutions of problems in the field of the performing arts that relies on public support and faces economic difficulties. Considering the value chain for the performing arts industry is comprised of Creation-Distribution-Consumption is isolated relatively, this study aims to identify improvements for the distribution system. By examining the government's theater-oriented support policy, this study details methods of improvements in the distribution sector of the performing arts industry. Following the study of the performing arts industry and its value chain, the study analyzes the structure, factors and the present state in the performing arts industry, as well as the volume and type of public sector support for distribution. The study concludes by suggestingmagnifying government's Distribution sector supporting that was limited by only 2.7% in 2014, and fostering and specialty improvement of circulation agents such as production agencies.In addition, supporting distribution diversification, namely the extension of platforms like the Visualization of Performing Arts, is needed. These alternatives will contribute to balanced development and coevolution of each sector which comprises the performing arts industry's value chain.

• Journal of Gifted/Talented Education
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• v.18 no.2
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• pp.201-237
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• 2008

The object of this research is to understand the domain-universality and domain-specificity of scientific domain and visual art domain from case studies on individuals who had made creative accomplishments in the domain of science and visual art. For case studies, 10 people who made creative accomplishments in the science and technology domain and 9 people who made creative accomplishments in the visual art domain were selected as the research participants. The conclusions for the case studies were made on the data obtained from interviewing the research participants using KES as an analytical frame. The findings of this study support as follows. Creativity on scientific domain and visual art domain is both the domain-universality and domain-Specificity. The domain-universality Of scientific domain and visual art domain is related to the nature of human beings, originality in creativity, and the natural selection. On the other hand, The domain-specificity of scientific domain and visual art domain is related to the type of knowledge and the context of applying the knowledge, will, thinking skill, direction, and social components.

• Archives of design research
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• v.18 no.3 s.61
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• pp.63-74
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• 2005

Modern society is diversified society and is under complicated situation as the boundary of each area has been disappeared. To understand and accept such complicated situation as widely as possible, it is required to understand interaction. of receiver with intertextual environmental arts as the structure of open text. This study examined interaction of environmental arts in terms of intertextual feature based on experience of receiver on combined element of different space and time, combination of genres. This is the concept of meaning personal experience or situation as receiver participates the process of completing art works, and set the fantasy, post-place and speciality of location and temporal-spatial expression method, as characteristics of intertextuality. Features of such experience elements are used as methodology of analyzing characteristics of each work. Feature of fantasy uses strategy of inducing spatial experience of receiver with dematerialization for post-place and expands the place where events occur with intervention of contingency and event situation. It suggests the spatial-temporal expression method as the features focusing on process and reflecting changes in spatial-temporal continuum and speciality of place emphasizing context of place. In conclusion, environmental arts needs to be deep rooted on complicated existence aspect of receiver beyond metaphysical dimension depending on presence and to accomplish conversion of awareness of supplying bisection of life from that place. By doing so, environmental arts can live textual life as it gets together with all other texts in terms of text dimension and creativity can be reborn as practical creativity in intertextuality rather than uniqueness. Such combination with other areas and acceptance of various aspects of receivers who see and experience this will result to creation of open works which can be create newly over and over again in multi-dimensional aspects.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.41-50
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• 2018

The present article focuses on the cultural arts, the role and functions of people as intermediate to carry out the revitalization of memory. Most of the basic cultural activities and events sparked from the cardinal point of the democratization of Gwangju and the interwoven relationships this created. In other words, the events leading to Gwangju democratization movement have derived from democratic culture and art and they contributed to change and influence South Korea's revolutionary movements. As far as clarifying the concept of culture is concerned, the idea of culture is too wide to encompass it so we aim to narrow it down to the special events of 5.18 democratization movements which launched the national transformation of the cultural stage and the development of democracy in South Korea. Through this, the movement of popular culture and popular arts fostered the revolution of society. Moreover, the value of the 5.18 movement for democratization stems from democracy, human rights, the universal value of peace and so many efforts were made by popular artists until it became upgraded as a national commemoration day. Raising the people's awareness that culture could change the course of history is still necessary so that popular art and culture play a central role in people's lives. In order to fulfill the people's inherent hope it is necessary to promote aesthetic values and a continuous revolution in societal practices.

• Journal of Christian Education in Korea
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• v.62
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• pp.75-99
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• 2020

What means the Waldorf school based on integrative imagination to our educational reality in our days? This is the key question in this article. This article seeks to the fundamental meaning of the Waldrof school to know our educational problems. For this purpose this article explore understanding on the theosophy of Rudolf Steiner in the insufficient research until now. The theosophy of Rudolf Steiner in this article is investigated with the understanding of Triune God, human, and educational arts. The understanding of triune God is identified as the critiques to the view point of materialism, the meaning of logos in the scripture of John, the Christ as the foundation of all creatures. The understanding of human being is distinguished as the nature of body, soul, and spirit in the theosophy. Especially the nature of spirit is to see the invisible in the visible things through the eyes of mind that means esoteric spirituality not unrealistic spirituality of monasticism but integrative spirituality of overcoming the dualism between spirit and material. The educational characteristics for the integrative spirituality and imagination is called as the educational arts by Rudolf Steiner. The educational arts includes contents of the soul life, the education of freedom with individuality, and integrative education. The educational arts intends to the wholistic education with harmonious interaction of intellect, feeling, and willing to equip the individual human being in the spirit. And the educational arts educates with the harmony of story, play, art, and integrative curriculum of subject contents. The educational arts is to intend for reformation in christian education including church school and alternative school, etc. The Waldorf school needs to emphasizing the christian spirituality in the educational arts.

• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.