• Trans-
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• v.8
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• pp.29-53
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• 2020

This paper aims to study the aesthetics of ugliness in David Lynch's first film . First, as a background study, it examines the history of ugliness in the history of beauty and discusses the meaning of ugliness in an aesthetic sense. Furthermore, i will look at the aesthetic theory of Rosenkrantz's Aesthetic Theory, which has developed in-depth discussions about ugliness, and discusses similar or other aspects of opinion. Finally, to demonstrate the aesthetics of the application of ugliness in modern cinema, the specific sound of David Lynch's film is analyzed in detail and its relationship with images. Through this discussion, I would like to clarify the aesthetic meaning of ugliness as an aesthetic category in the field of film.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.1
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• pp.152-170
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• 2023

Although ugliness had long been considered a negative form of beauty, it has become an independent aesthetic category. However, most previous art studies have focused on Rosenkranz's theory, making its application to contemporary fashion analysis challenging. Therefore, it is necessary to redefine ugliness. This study highlighted four modern ugliness categories from a modern perspective following the examination of the historical considerations of the ugliness concept, namely ugliness as a violation of taboo, ugliness as an unpleasant emotion, ugliness as a vulgar taste, and ugliness as an ethical flaw. From this perspective, SHOWstudios for fashion films were analyzed in the present study. The results of our analysis showed that ugliness in the film was related to socially sensitive subjects and stimulating images. Whereas costumes in the film were used as a tool to convey the subject and to enhance the visual effect of the image. In addition, clothing was identified as a core subject element of the video, particularly when considering ugliness as an ethical defect. This study provides further insights into contemporary fashion analysis, expanding the ugliness perspective, which had been limited to the specific perspectives of scholars.

• Journal of Korean Philosophical Society
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• v.130
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• pp.277-304
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• 2014

Der vorliegende Beitrag zielt darauft ab, zwei Perspektiven $f{\ddot{u}}r$ die Kunst bei Kant und Nietzsche und ihre Schlussfolgerungen zu $er{\ddot{o}}rtern$. Kants Kritik der Urteilskraft hat eine enorme Rolle in der Geschichte der ${\ddot{A}}sthetik$ gespielt. $F{\ddot{u}}r$ Kant sollen ${\ddot{a}}sthetische$ Urteile ebenso wie Erkenntnis- und Moralurteile $allgemeing{\ddot{u}}ltig$ sein, obwohl sie auf einem $pers{\ddot{o}}nlichen$ Geschmack beruhen. Die $Allgemeing{\ddot{u}}ltigkeit$ des $Sch{\ddot{o}}nen$ sei $m{\ddot{o}}glich$, weil sie nicht auf dem Gegenstand, sondern auf dem transzendentalen Subjekt basiere. Die $sch{\ddot{o}}ne$ Kunst als Kunst des Genies soll uns wie die $Natursch{\ddot{o}}nheit$ ohne Interesse wohlgefallen. Nietzsches Stellungnahme zu Kants ${\ddot{A}}sthetik$ ist sehr kritisch. Nietzsches erster Kritikpunkt richtet sich gegen das 'interesselose Wohlgefallen'. Gegen Kant behauptet Nietzsche, dass die $Sch{\ddot{o}}nheit$ sehr wohl mit Interesse verbunden ist. Grund $daf{\ddot{u}}r$ ist, dass das $Sch{\ddot{o}}ne$ wesentlich aus dem Willen zur Macht entspringt. Der zweite Kritikpunk Nietzsches liegt darin, dass in Kants ${\ddot{A}}sthetik$ die Moral im Vordergrund steht. Das $Sch{\ddot{o}}ne$ ist $f{\ddot{u}}r$ Kant durch die Moral gerechtfertigt. Nietzsche dreht diese Stellung der Moral zur Kunst um. Der dritte Kritikpunkt Nietzsches ist, dass Kant statt von der Erfahrung des $K{\ddot{u}}nstlers$ (Schaffenden) aus das ${\ddot{a}}sthetische$ Problem zu betrachten, allein vom Zuschauer (Empfangenden) aus ${\ddot{u}}ber$ die Kunst und das $Sch{\ddot{o}}ne$ nachgedacht habe. $F{\ddot{u}}r$ Nietzsche ist die Kunst $prim{\ddot{a}}r$ vom $K{\ddot{u}}nstler$ aus zu verstehen. Nietzsches Physiologie der Kunst ist mit dem Begriff 'Leib' $verkn{\ddot{u}}pft$, d.h. Nietzsche behauptet, dass physiologische und ${\ddot{a}}sthetische$ Prozesse wesentlich $zusammenh{\ddot{a}}ngen$. Die Schlussfolgerung der Physiologie der Kunst lautet: erstens, jeder Mensch ist $K{\ddot{u}}nstler$, sofern er schaffend ist, und zweitens, die Welt selbst ist nichts als Kunst. Nietzsches Physiologie der Kunst hat einen $gro{\ss}en$ Einfluss auf die $gegenw{\ddot{a}}rtige$ Kunst $ausge{\ddot{u}}bt$ und kein anderer Philosoph hat auf die $gegenw{\ddot{a}}rtige$ Kunst nachaltiger gewirkt.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2003.10a
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• pp.95-98
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• 2003

전 세계에 위성이동통신 서비스를 제공하고 있는 인마새트 시스템은 해사통신 및 선박의 안전운항을 목적으로 UN산하 국제해사위성기구(INMARSAT: International Maritime Satellite Organization)로 설립되었다. 그 후 기존에 제공하던 해상 위주의 서비스 외에 항공 및 육상 이동통신서비스가 추가되면서 국제이동위성기구(INMARSAT: International Mobile Satellite Organization)라는 이름과 병행하여 사용하여 오다가 최근 민영화되었다. 이에 따라 인마새트는 육상, 해상, 항공서비스를 제공하면서 86개의 회원국으로 운영되어오다가 민영화되면서 이들 회원국은 모두 투자사로 전환되었다. 하지만 기존에 제공하여온 해상조난안전통신 등 공익성을 갖는 기능에 대해서는 향후에도 지속적인 서비스가 제공되도록 별도로 IMSO(International Maritime Satellite Organization)라는 감독기관을 두어 관장하고 있다. 인마새트는 전세계적으로 글로벌 위성이동통신 서비스를 최초로 제공한 이래 아직까지도 해상, 육상, 항공 등 전 분야에 통신서비스를 제공하는 유일한 사업자이다. 더구나 최근 저궤도 위성을 이용한 GMPCS의 성장추세가 예상보다 크게 둔화되면서 상대적으로 비용이 저렴한 정지궤도 위성 시스템인 인마새트 서비스가 더욱 활성화되는 추세이다. 이에 인마새트 서비스를 위한 신형 장비도 추가 개발되고 있으며 서비스 영역이 확장되는 등 그 중요성이 부각됨에 따라 향후 상당기간동안 인마새트 시스템에 부가기능을 추가하면서 재난시 비상연락수단은 물론이고 일상적인 통신수단의 영역까지 확대될 것으로 전망된다.인 방법이다. 활성물질의 생성시간과 가공시간은 불과 수십 $\mu\textrm{s}$ 및 수 sec 에 불과하므로, 1 kton/h 용량의 수산기활성제 제조장치의 환산소비동력은 약 200 kW이고, 장치의 체적은 10~30 ㎥의 공간으로 충분하므로, 소형선박으로 상당면적의 적조피해를 효과적으로 해결할 수 있다.의 특성을 이용하여 워터마크를 삽입한다.송 시스템을 구현될 수 있음을 검증하였다.출량을 비교한 결과 토사 유출 억제효과는 한지형과 나지형잔디들의 혼합형(MixtureIII)과 자생처리구(MixtureV), Italian ryegrass와 자생식물의 혼합형(MixtureIV)등에서 비교적 낮은 수치를 토사유출량을 기록하였다. 이러한 결과는 자생식물들이 비록 초기생육속도는 외래도입초종에 떨어지지만 토사유출의 억제효과면에서는 이들 외래초종에 필적할 수 있음을 나타낸다고 할 수 있겠다.중량이 약 115kg/$m^2$정도로 나타났다.소 들(환경의 의미, 사람의 목적과 지식)보다 미학적 경험에 주는 영향이 큰 것으로 나타났으며, 모든 사람들에게 비슷한 미학적 경험을 발생시키는 것 이 밝혀졌다. 다시 말하면 모든 사람들은 그들의 문화적인 국적과 사회적 인 직업의 차이, 목적의 차이, 또한 환경의 의미의 차이에 상관없이 아름다 운 경관(High-beauty landscape)을 주거지나 나들이 장소로서 선호했으며, 아름답다고 평가했다. 반면에, 사람들이 갖고 있는 문화의 차이, 직업의 차 이, 목적의 차이, 그리고 환경의 의미의 차이에 따라 경관의 미학적 평가가 달라진 것으로 나타났다.corner$적 의도에 의한 경관구성의 일면을

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.43-54
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• 2002

Some factors had influence upon the grotesque image formation expressed in fashion: for instance, thanatos, religions, fin de siecle (end of the century), the aesthetics of ugliness, subculture group's resistance and technology development, etc. Those factors have formed a grotesque while exchanging influence each other, and have following features: First, the thanatos, which is destructive and aggressive instinct of the inner world of human being, creates frightening object and motif to form the images of grotesque. Second, from religious point of view, the church made the Devil a tool for maintenance of power: They manipulated physical body and give a damage to it to sublimate it in holy existence, so that they could feel catharsis. Third, there was fin de siecle (end of the century) to let people have negative life attitude, such as uneasiness on following century, eschatology, skepticism and nihilism, etc. Fourth, the ugliness having unpleasantness and disharmony occupies governing position when our society becomes corrupted and uneasy, and the aesthetics of ugliness discloses the inconsistency of ideal and beautiful life in the grotesque images. Fifth, subculture groups, i.e., the lower classes, homosexual and the youth's group, etc, form the grotesque images by political and ideological resistance, complaints and specific identity, etc concerning governing culture keeping traditional ethics consciousness. Sixth, recent technology development has destroyed a boundary between human being and machinery, and bio-technology development has created transplant operation, plastic operation and other human body transformation operations, and genome research, etc has raised human being's identity.

• Trans-
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• v.15
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• pp.105-140
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• 2023

This study aims to investigate the interrelationship between German expressionist dance and grotesque art, with a specific focus on the analysis of Pina Bausch's renowned work, <Café Müller>. German expressionist dance emerged as a response to the social instability and economic downturn that followed World War I, leading to the introduction of expressionism and grotesque aesthetics. The incorporation of grotesque expression in dance plays a critical role in boldly portraying the destruction of the human condition and its underlying causes, thereby offering insights into social contradictions and the erosion of human nature. This research thoroughly explores the intricate connection between German expressionist dance and grotesque expression, providing a comprehensive analysis of Pina Bausch's <Café Müller> to reassess the profound meaning and significance of expressionist dance. Additionally, this study delves into the inherent grotesque tendencies embedded within the work, surpassing conventional notions of visual beauty and ugliness, and strives to reinterpret the essence of grotesque expression through the nuanced movements of the dancers and the integration of auditory elements within the performance.