• Archives of design research
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• no.16
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• pp.41-51
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• 1996

A matter of primary concern about all design is concentrated on how to create more valuable things to allow people to live an affluent life. However, it is very difficult to achieve the goal because every design work is changed in accordance with given situatio ns. In this sense, it is significant to study on biodesign because it can be both a basic principle and a fudamantal index to show the way of new design direction. Accordingly, the main purpose of the thesis is to catch every meaning of bio-design and to close analyze its factors in order to generate more fresh ideas and put them into practice. The thesis is composed of five Chapters: Introduction, Background of bio-design, Principle of bio-design, Practice of bio-design, and Conclusion. In Introduction, the purpose and background of the study are presented. I n Chapter 2, source of design orgin, vernacular design, and design for life are researched. In Chapter 3, organic order. the survial of the fittest, and subjective & objective are considered. In Chapter 4, hi-tech & hi-touch, criteria of problem -solving, and harmony with nature are searched. In Conclusion, some suggestive words on the study are mentioned.

• 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.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.99-136
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• 2021

Grievance-resolution pursues reconciliation, mutual beneficence, and consolidation. Accordingly, the concept of grievance-resolution is a norm, a principle, as well as an ideology that aims to realize an ideal society and satisfy human desires. Such ideological thought transcended into religious doctrine and was systemized by Jeungsan, Kang Il-sun. He focused on grudges that represented the intrinsic sentiment of Korea and apprehended that grudges are the grounds and reason for the devastation of the world. Furthermore, Jeungsan was a figure who reinterpreted the concept of grievance-resolution via a religious perspective through an in-depth study which transformed into a doctrinal system. He practiced the Reordering Works of grievance-resolution on a universal dimension to religiously redeem all things. Jeungsan completely resolved all the grudges and grievances that filled up the Three Realms (Heaven, Earth, and Humanity) through the concept of grievance-resolution and emphasized that he would establish an ideal society on earth to complete the redemption of human beings. Jeungsan apprehended that the essential characteristics of grudges and grievances were the fundamental reason for the destruction of the world. In this regard, he insisted that the redemption of the world should be achieved through the grievance-resolution. Grievance-resolution is an essential aspect and principle of Jeungsan's system of thought. In addition, it is a concrete approach to establish the earthly paradise of the Later World. Jeungsan implemented a method to redeem humankind by systemizing the intrinsic sentiments common in Korea - namely, the concept of grievance-resolution- and he suggested it as a religious practice which was the principle behind the Reordering Works of Heaven and Earth. Jeungsan defined that his own era was a time of grievance-resolution. In addition, he insisted that grievances and grudges had existed from the beginning of humankind. Jeungsan also said that there were grievances and grudges in heavenly planes, human planes, and underworldly planes. It was thereby necessary to do beneficial deeds for others and reciprocate beneficence in order to resolve grievances. He emphasized that a process wherein all human desires could be satisfied was essential. Furthermore, Jeungsan stressed that this present time should focus on the process of grievance-resolution on a practical level.

• Journal of Korean Philosophical Society
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• v.129
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• pp.247-265
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• 2014

In this paper I will undertake three tasks: first, to identify the difference between John Rawls's liberal conception of liberty and Will Kymlicka's; second, to briefly examine the problems with liberal conception of liberty; finally, to propose a certain alternative that will be able to make liberal conception of liberty more meaningful In Kymlicka's view, Rawls seems to fail to make the best defence of freedom of choice because he wants to explain of individual freedom on the basis of Kant's moral theory about liberty. Kymlicka thinks that it is not a desirable way of defending liberal conception of liberty. According to his liberal theory, Rawls's defence of freedom of choice might make us think that we should have our freedom of choice for its own sake because freedom is the most valuable in the world. So Kymlicka wants to provide stronger argument to defend freedom of choice in liberalism. He insists that it is our projects and tasks that are most important things in our lives. Furthermore, he argues that we should conceive our freedom of choice as a precondition for pursuing those projects and practices that are valued for our good lives. Now I want to look at two concepts of liberty in liberalism with Rawls's theory and Kymlicaka's. In this paper, I shall look at criticisms of the liberal account of freedom of choice. These would give us a certain chance for understanding true freedom.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.163-174
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• 2020

The purpose of this study is to derive the characteristics of the creative process of convergence performing arts. Therefore, the PADAF-Play and Dance Art Festival, a representative convergence performing arts festival in Korea that has been held steadily every year since the first event in 2011, was selected as the subject of the study. Through PADAF, a representative convergence performing arts festival in Korea, qualitative case studies were selected through process-oriented discovery to study the characteristics of the creative process of convergence performing arts, which is a key feature of performing arts in the 21st century. For realistic and empirical research, the 8th and 9th PADAF participated in the entire process from the initial stage of preparation to the closing ceremony and conducted several in-depth interviews with PADAF officials and participating artists. Looking at the characteristics of the convergence performance art creation process through PADAF, creators overcame difficulties that they had not thought of in different ways in the process of meeting different heterogeneous genres, but through understanding other genres, experiential values through convergence, sharing as collaborators, and various ways of communication. The characteristics of the convergence performing arts creation process, which is focused on PADAF, are "Rhizom thinking" by French philosopher Gilles Deleuze(1925-1995), "Collective intelligence," and "Experimental Value for Experimental Creation" by creators. Through this derivation, we will help the changing performing arts scene based on the basic human desire to understand convergence performance art a little more and communicate through the extended expression of convergence.