• Journal of Korean Philosophical Society
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• v.139
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• pp.265-313
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• 2016

This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.

• The Journal of Korean Philosophical History
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• no.35
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• pp.415-443
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• 2012

The moral instruction expresses and conveys a abstract objects so called moral. And it pursues occurrence of moral meaning contained a emotion. In these respects, there is a resemblance between moral instruction and artistic symbolic language. Meanwhile, the poetry are a typical form of artistic symbolic language, and especially poetic symbolism is a representative and possible way that expresses accepting a meaning of abstract objects. Then a moral instruction needs to be poetic symbolism. The poetic symbolism that a moral instruction intends to resemble is a linguistic expression, but at the same time that is a expression beyond a linguistic limitation for conveying the metaphysical meaning. For this, the poetic symbolism reveals visible and concrete vehicles that imply invisible and metaphysical tenor. At this point, poetic symbolism is characterized with sameness, implicitness, polysemy, context, allness. The poetic symbolism having these characters appears personal symbol of poet as combined with creative imagination, and is experienced poetic meaning as combined with creative imagination of reader. The moral instruction as a poetic symbolism offers learning experience similar to poetic experience. The moral instruction as a poetic symbolism would be constructed not a logical or prosaic explain but symbolic form that can draw various moral meaning. For this construction, first, we might find a symbolic media for materialization of teaching contents. Second, moral teaching should be constructed to be searching moral meaning of symbolic media. Third, moral teaching should be constructed to be interpreting moral meaning of symbolic media. When teacher can construct moral instruction as possible as similar to poetic symbolism, student can learn moral meaning combined with emotion through their response and interpretation to the teaching. It is very similar to good poem that is sympathized and accommodated poet's theme by reader.

• The Journal of the Korea Contents Association
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• v.5 no.1
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• pp.117-126
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• 2005

In the present, animations of auteurism and aestheticism became a unique genre of art that expresses directors' idea. 'Tale of Tales' by Yuri Norstein, a Russian animator, is a paper animation that emphasizes the cut out technique and picturesque feeling as well as complicated structure of sequence in expressing metaphysical themes in the author's historical realism. It is evaluated as unique and creative. The present study analyzed the montage technique applied through the development of several symbolic images, the diachronic expression of contradictory worlds, the unique foreshadow of revealing the causes of results later, rapid repetition of urgent and serious situations, the movement of the camera to express the psychological distance between two characters in different situations and the process of editing. The derived results of this study are expected to be helpful in the works of animators of auteurism and aestheticism.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.35-44
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• 2005

Light is the essential and symbolical entity In architecture. But the meaning of light has been changed as time has passed, and today it has plural meaning and more sophisticated role. Since 1960's 'Light and Space Art' has accomplished many successful experiments through light and space as artistic media, and they have changed the understanding of light from the electrical source to the phenomenological energy and sensual medium. And also the role of space in their works takes the more human-oriented field constituted from the coherent relationship of internal parts including human being. Light could be 'an object' and 'material' under 'Light and Space Art' artists' persistent efforts. They revealed another realm of spatial experiences such as extension-the metaphysical space, heterogeneous relationship-the complex space, and dematerialization-the illusionary space. The secondary and inclusive effects by 'Light and Space Art' can be found In the phenomenological architecture, the post-modern architecture, and the immaterial tendency of contemporary architecture. However, the more close connections between 'Light and Space Art' and the specific architectures are still left as a portion aside for the further research.

• 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.

• Archives of design research
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• v.12 no.3
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• pp.143-152
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• 1999

Although in art an idea which visualizes a certain concept is generally such an essential part as it would be decisive to the success or failure of an art work in reality various difficulties are involved in idea making. Thus, directions for the idea making for visualization works are suggested in this paper. This paper classifies several cases of expression skills among non-abstracts showing the contents which visualize abstract concepts in western art after Renaissance when freedom of individual artistic expression and personal characteristics initiated. Also, this paper selects and introduces art works in which expression skills can be obviously explained. The expression skills are divided into symbolizing, allegory, specific pattern, non-abstract skills of surrealism, metaphysical distortion of logic and situation fixing, and specific examples on how the abstract concepts are formed and delivered are described. This is a case study done for the purpose of supplying help for the idea making in the applied art field which is lack of this kind of study.

• Archives of design research
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• v.13 no.3
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• pp.271-280
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• 2000

This is the deconstruction of functionism and means the complex phenomenon of disharmony such as the reputation of purity, search for history, irony and so on. The perceptional system of post modernist and deconstructionist philosopy, that allow us to have the critical angle of view such as the deconstruction of the existing foundation and the absence of the meaning of the reasoncentered thinking of the west, is shown to be grafted into design, fashion and so forth. These elements are taking root as the style of the end of the 20th century. The deconstructional fashion revolting against the existing regime has been reconstructed and created a innovative aesthetic sense by going so far as to address the way that doffing is formed, the way to handle materials and physiological and psychological elements. The deconstructional fashion depicted on new interpretation of the body proportion with planeness and specificity while ignoring three-dimensionality , structuristic rationality

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.121-125
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• 2008

Media art is developing the art of 'interaction' that get meaning through communicating an audience. Now, media art got the title named interactive media art, but its concept is not clear In this study we divided into two classes - passive and active interactive art. Passive interactive art had the interaction 'participation of communication' and had flat and limited features. Active interactive art meant that an audience played with works actively and found significances between artworks and themselves. Through analysis of case study, we verified a propriety about own interactive art's division. Especially, the active interactive art was very important. The western classical metaphysics seemed to be not perfect in analysis of active interactive art. We tried to analyze active interactive art more perfectly by using the oriental philosophy.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.77-93
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• 2009

The purpose of this study is to analyze on the fashion collection of Hussein Chalayan who has changed the concept of fashion design in the 21st century and has pioneered in the new vision of fashion. This study will give a new perspective and perception of fashion as a conceptual and ideological art. The conclusions of this study are as follows. First, Hussein Chalayan's multicultural ideas and interdisciplinary approaches which based in national speciality are the unique elements in his works. Second, Hussein Chalayan intends to present his works as an expression of conception. He has expressed the clothes which speaks the form of nature, symbolizes the combination of culture, visualizes time and space and investigates the existence of human being. Third, Hussein Chalayan has asked an endless question about existence of the human being. Furthermore, He has put a question about the relationship between time, space, history, nature and the human being. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works of art makes him as the designer who represents the 21st century. Forth, Hussein Chalayan pursues the communication between the human being and the world. His works is made for human being and makes the human life as valuable thing. Because the clothes is completed when the human wears it, it can not exist without the relationship of human being. Fifth, Hussein Chalayan makes a various attempt to combine with different artistic field. Fashion has developed to new direction with diverse trial and combination beyond fashion field and this has to be a direction in the 21st century fashion. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.