• 한국실내디자인학회논문집
• /
• 제22권1호
• /
• pp.115-123
• /
• 2013

Today, the views on Temporality of space have been changed not only to be based on the concept of time, but also to identify the space with a body adapted to the new circumstances. The study suggests that the actions of performers in space have been important by changes of views and are connected to the music phenomenology mixed with music whose tempo is the phenomenology related with of human consciousness itself, and derives the temporal property by putting them into Rem Koolhaas space with the fluid quality. According to Clifton's Phenomenology of Music, an understanding of music is made in both human body and consciousness as two ways to listen to sounds and enjoy music. Though a correlation between the characteristics of Clifton's Phenomenology of Music and one of resulted from uncertainty and immateriality of modern space Temporality, we could work out four kinds of characters which are the continuity of the fluidity from temporal programs, contrasting changes or synchronicity, the multidimensionality from synesthesia of line and face, ventilation by quality of the material and immaterial circumstances of sound effects, the implication in events resulted from cognition for information and unexpected actions, and the autonomy of the route of a variety of experiences including intimate connection of inter-related events and temporary and diverse external conditions. Hereby Temporality of musical phenomenology in Rem Koolhaas's space can be experienced by systems base oh the importance of host's motion, changes of programs according to the motion as well as uncertainty and immaterial changes. Due to the changes user's emotion and motion is undergone as Temporality that changes automatically.

• 한국콘텐츠학회논문지
• /
• 제20권5호
• /
• pp.251-260
• /
• 2020

<인셉션>에서 음악은 꿈속 공간들의 통로가 되는 동시에 시간속도가 서로 다른 공간 사이에서 시간성의 문제를 낳는다. 본 논문은 이 음악의 시간성을 베르그손의 시간개념을 통해 고찰하는 데 목적이 있다. 영화에서 사용된 음악《Non, je ne regrette rien》은 원곡 버전과 템포를 늦춘 버전, 그리고 느려진 템포를 골격으로 재편곡된 버전으로 나누어지며, 본 연구는 실제적 분석을 통해 그 특징과 유사도를 시각적으로 확인하였다. 베르그손의 지각과 기억 도식의 관점에서, 디제시스의 잠재태적 음악(템포를 늦춘 버전)이 내재하는 비디제시스의 현실태적 음악(재편곡된 버전)은 영화음악과 음악신호의 역할을 동시에 수행하고 있다. 또한 원곡 버전과 템포를 늦춘 버전은 질적 변화를 갖는 지속하는 동일체의 관계로서, 우리는 역원뿔 도식 내의 위치를 살펴보고, 이 둘의 관계를 도식에 응용해 보았다. <인셉션>의 다층구조에서 생기는 음악의 시간성을 현재와 과거가 공존하는 베르그손의 철학에 근거하여 탐구한 것은 본 연구의 큰 성과라 할 수 있다.

• 한국실내디자인학회논문집
• /
• 제21권5호
• /
• pp.162-170
• /
• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• 한국실내디자인학회논문집
• /
• 제25호
• /
• pp.18-25
• /
• 2000

Architecture and music have reflected many changes occurring in a greater cultural realm. Specially, the concept of time and space formed from relativistic physics becomes the basis of cultural awareness, and a method to understand the world. Therefore, this study aims to suggest the possibility to integrate architecture and music, based on the close relationship between architecture and music of the 20th century focusing on time and space. Resultantly, in this study, interrelationship between architecture and music is elucidated by proving both the spatiality of music and the temporality of architecture, and such possibility to integrate the two realms helps understand the reality.

• 한국실내디자인학회논문집
• /
• 제39호
• /
• pp.45-53
• /
• 2003

The purpose of this study is to grasp how B la Bartok's 'Music for Strings, Percussion and Celesta' was expressed in 'Stretto House' of Steven Holl. In conclusion, it is found that phenonenological temporality was expressed through the following equation: (equation omitted). More specifically, it is clarified that the stretto of the musical piece was expressed in the spatial overlapping of the house; the inversion, in the form change of the plan and section of the guest house; the symmetrical proportion and Golden Section, in the same proportion of the house section; the melody of theme, in the shape of the roof. This shows the possibility of approach to the substance of interior and architectural design through music.

• 한국실내디자인학회논문집
• /
• 제13권3호
• /
• pp.112-119
• /
• 2004

The purpose of this study is to grasp musical expression in the Monastery of La Tourette, an architectural work produced by an architect, Le Corbusier and a musician, Iannis Xenakis based on a musical piece, Metastasis. The results of the study on musical expression in the Monastery of La Tourette, which was done through analysis of correlation in expression between architecture and music, and spatial characteristics of this monastery, are as follows: First, in modern architecture and music, the expression of the space-time continuum concept is emphasized. Second, the architectural characteristics in this monastery that constitute musical expression are the Modular, confliction and fluidity in composition, plastic (acoustic) shape and symbolic shape. Third, these architectural characteristics are found to be expressed as counterpoint, alteration, temporality, acoustics and canon of music.

• 한국실내디자인학회논문집
• /
• 제24권2호
• /
• pp.78-87
• /
• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• 미술이론과 현장
• /
• 제13호
• /
• pp.185-213
• /
• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• 조형예술학연구
• /
• 제7권
• /
• pp.64-104
• /
• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.