• 한국실내디자인학회논문집
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• 제18권3호
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• pp.47-56
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• 2009

This research aims to analyze the characteristics of the architectural space of Rem Koolhaas based on the spatial discourse of Gilles Deleuze, a philosopher of post-structuralism which comprehends pluralism accepting even contingency and uncertainty beyond deterministic attitudes of structuralism that has led the western discourses since the 19th century. First of all, this research will reflect on Deleuze's spatial concept through literatures and extract the characteristics related to architectural spaces. Then, on the basis of these characteristics, it will analyze the characteristics which were applied to the interior space of the recent architectural works of Rem Koolhaas to find out how Deleuze's spatial dicourse was embodied. Among Deleuze's speculations, the characteristics which falls under the spatial discourse were classified into three categories; degree between the striated space and the smooth one, the space of events and singularity, and the space of the multiple sense. These analysis words are used to look into the correlations among the specific practicing methods embodied in the architecture of Kookhaas. In conclusion, in the architectural space of Rem Koolhaas, it was found that the characteristics of Gilles Deleuze's spatial discourse of post-structuralism were embodied by the methods such as (1) Space of continuous transition, (2) Space of the $multiplicit{\acute{e}}$ accepting contingent events, (3) Space of the multiple sense, and (4) Space of movement.

• 의학교육논단
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• 제14권1호
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• pp.1-6
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• 2012

The idea that medicine itself imposes certain obligations upon the physician probably originated in Greece. It is Socrates in the fifth century BC who first discussed medical professionalism. Socrates said that no physician should seek the advantage of the physician but of the patient. For the physician was a ruler of bodies and not a money-maker. However, it is Hippocrates, the contemporary of Socrates and the Father of Medicine, who founded medical professionalism education and professional medical ethics. The professional spirit of Greek physicians is summed up in the magic phrase 'love of humanity.' In Epidemics I, Hippocrates expressed hope that physicians would help patients, or at least do them no harm. He also said, "Life is short; Art is long" in The Aphorisms. Here he described the reflective philosopher and the practiced physician. At once he sang the shortness of human life and the extent of the medical arts. Moreover, he made students swear by the gods that "I will keep pure and holy both my life and my art." The Oath can serve as a coherent starting point and organizing framework for medical professionalism education and professional medical ethics. We need to have an opportunity to employ this fascinating text in teaching medical professionalism and medical ethics. In this article, the author asserts that the Hippocratic Aphorism (Life is short; Art is long) and The Oath, the most famous work of the entire Hippocratic collection, should be used for medical professionalism education.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.114-121
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• 2012

Gilles Deleuze is a philosopher who replaces the world of representation defined as supremacy of identity with the contemporary reason of non-representation in the history of western philosophy that wants to transcend Plato. Deleuze developed his own philosophical concept through philosophical reason and encounter with arts, for which reason he exerted a great influence on artists and architects in diverse fields. Particularly, 'Logic of Sensation' published in 1981 considers the non-representation painting approach through Francis Bacon's painting theory defined as 'invisible force's visibility'. And it is considered that SANAA's architecture among many contemporary architects accepted the essence of Deleuze's philosophy and continuously reflects it on projects. Hence, objective of the present study is to consider how the non-representation constituting a root for Deleuze's reason has been indicated in paintings and architecture through examining the works by Bacon and SANAA. First, a theoretical consideration will be directed to non-representation, followed by an analysis of Bacon's painting works and SANAA's architecture projects from the viewpoints of the force of isolation, the force of transformation, the force of dissipation and the force of time dealt with by Deleuze in 'Logic of Sensation'. Finally, through such analysis, the characteristics of Deleuze's non-representation indicated in architecture and paintings will be derived.

• 한국실내디자인학회논문집
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• 제26권1호
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• pp.13-24
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• 2017

The semiotics philosopher Roland Barthes declared 'the death of the author'. This means a sense of skepticism about author-centered writing in literature, and that readers and critics must also change their reading attitudes. In architecture, too, author-centered design appears. Architects sometimes try to express their will and concepts strongly through their work. However, this architecture is oriented toward identity, self-revealing, self-centered, and eventually without inspiration. On the other hand, the signifier does not result in a single meaning, and it is architecture as text that allows readers to enjoy the pleasure of deciphering. The purpose of this study is to investigate that unilateral by the will of the architect. Or whether there is a potential for non-intelligence and the possibility of generating meaning. In particular, we will analyze the works of Rem Koolhaas, SANAA and Sou Fujimoto to see if they are free from the will of the architect and can obtain the user's true freedom. As a result, we want to reveal the potential of various interpretations by users in contemporary architecture.

• 철학연구
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• 제139권
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• pp.169-190
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• 2016

관용에 대한 여러 가지 중요한 비판 가운데 주목할 만한 견해로 19세기 말 독일 철학자 니체의 입장이 있다. 니체는 인간 자신을 위축시키는 노예도덕, 즉 약자와 희생자의 도덕을 강하게 거부하는 것과 동일한 맥락에서 관용 역시 비판한다. 그래서 니체가 비판의 대상으로 삼는 관용이란 일차적으로 약자들이 자신들의 비겁함이나 무력함을 감추고 그러한 치부를 정의로 포장하기 위한 변명 내지 구실이다. 물론 니체는 이 같은 비판에만 머물지 않고 나름의 대안도 제시하고 있다. 그것은 약함이 아니라 강함에서 나오는 관용으로 소위 위대한 관용이라는 개념으로 칭해질 수 있다. 위대한 관용은 자신과 대립되는 사상이나 견해 등 역시 자신을 위해 이용할 수 있는 능력을 갖춘 자만이 기꺼이 발휘할 수 있는 덕목이다.

• 비교문화연구
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• 제25권
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• pp.597-626
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• 2011

Civil college is a public educational institute for theoretical and practical learning. This study examines the social context behind France's civil college and how it is being operated. Many studies have been conducted in Korea to examine Germany in terms of lifelong learning or adult learning, but there is almost no study on France. Therefore, this study was conducted to analyze the history and operation of civil college, the "college outside college," in France and what Korea should learn from it. The civil college of France can be discussed in two contexts: first, it is AUPF, which stands for the French association of civil colleges, and it was mostly influenced by Northern Europe and Germany. Second, it is Caen Civil College, which was established by M. Onfray based his philosophical collaboration. The European civil college opened almost 1,000 courses in 2010-2011 for a variety of subjects, including Foreign Languages, Mother Tongue, the Dialects of Alsace, Philosophy, Cosmology, History, Art History, Psychology, Sociology, Astronomy, Botany, and Natural Science. Courses in Fine Arts include drawing, painting, sculpture, photography, music, and theater. For another form of civil college, Philosopher M. Onfray has been operating Caen Civil College since 2002 for general education and cultural education. It is not acknowledged by conventional philosophers, but it is contributing to the popularization of philosophy. In conclusion, the civil college in France has brought in-depth philosophical discussions out of the lecture rooms in an effort to popularize learning, making lifelong learning more accessible to the general public.

• 대한건축학회논문집:계획계
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• 제34권8호
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• pp.31-41
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• 2018

This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright's Florida Southern College and Ludwig Mies van der Rohe's Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright's Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe's Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.

• 대기
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• 제30권4호
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• pp.455-462
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• 2020

Among the weather conditions on the Korean Peninsula, Changma is a notable phenomenon. This is because substantial amount of the precipitation on the Korean Peninsula tends to happen during the Changma season. But there are times when this tendency falls into whims. That's the case when it doesn't rain or rains only little during the Changma season. The Korea Meteorological Administration (KMA) describes this phenomenon as 'Dry Changma' - meaning . However, 'Dry Changma' is often regarded as an instance of contradicto in adjecto. Since the general public believe that 'Changma' means . This confusion often leads to distrust in meteorologists. In this paper, we would like to propose a reasonable solution to this conundrum by employing the conceptual resources of contemporary philosophy. First of all, I will make explicit the meaning of 'Changma' that the public and meteorologists think of. And then a brief explanation of the concept of natural kinds will be presented and the argument will be made that Changma is a natural kind. Next, we will discuss a view on natural kind terms advanced by Saul Kripke, a renowned philosopher. We will argue that in Kripke's view, the general public's thought that 'Dry Changma' is contradicto in adjecto is not correct. This will eventually lead to the conclusion that the meteorologist usage of 'Changma' is the correct one, which is thereby to be adopted by the public.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.124-134
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• 2011

The space has been interpreted from various perspectives, such as hierarchical, cultural, economic, political factors, etc. So we can see the space as a social existence. Space is now being formed through the dialectical relations of these elements. From this point of view, this study started to research the spatial practice of morden people through the case in the early 20th century film. With the discourse of Henri Lefebvre and David Harvey, and Michel de Certeau's theory, this research tried to find the mechanisms of spatial practice. Also Benjamin is a philosopher who intervenes the relationship between modernity and cultural production and his way of reading cultural phenomena seems to serve as the useful methodology of cultural studies. Modern people were individual unawared of the era, awakened to the ego. They were wandering the room and the street, private and public places. They were city dwellers walking around, collecting goods, and living of everyday life. Spatial practice is a fixed activity and have continuity. spatial practice appeared in the early 20th century film is at the intersection of social practices and the practice of everyday life. Social practices are a fixed practice and continuous practice. The practices of everyday life are nomadic practice and amusable practice. Modern people accommodate and adapt to a given space of the city through fixed practice. They realizes the access and the distance from spaces through continuous practice. They select and approved the spaces through nomadic practice. And they possess exclusively and utilize the spaces through amusable practice. Through These research spatial practices, it could easily found similarities and differences between modern space on the early 20th century and contemporary space of 21st century. True modern is not the past but the present.

• 한국콘텐츠학회논문지
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• 제12권10호
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• pp.138-147
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• 2012

현대에 이르러 공간디자인 분야에 나타난 의미 있는 시도는 공간구축과 담론의 교차점을 찾으려 시도한 것으로 평가된다. 본 연구는 현대 철학자인 질 들뢰즈가 프란시스 베이컨의 회화를 분석하여 자신의 담론을 전개한 문헌에서 공간적 단서를 찾아 현대 공간디자인과의 공통적 특성을 밝히는 것이다. 들뢰즈의 분석에 따르면 베이컨의 회화는 골격-배경(아플라), 형상-형태(형상) 그리고 윤곽-한계(트랙)라는 세 가지요소로 구분된다. 이러한 회화의 세 요소로부터 '형상-사건의 발생', '트랙-감각의 장소', '아플라-배경과의 상호작용'이라는 공간적 분석어를 추출했다. 그리고 이 분석어로 렘 콜하스의 최근 작품을 분석했다. 렘콜하스의 작품에서 확인되는 들뢰즈 공간론은 사용자와 공간 사이에 발생하는 사건 중심, 사건 발생을 유도하는 장소, 사용자와 공간 또는 공간과 대지 사이의 차이생성이란 방식의 적용이다. 결과적으로 현대 담론과 공간디자인 모두는 생명 운동에 의한 '차이'로서 이해된다는 공통의 특성을 확인할 수 있었다.