• The Journal of Art Theory & Practice
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• no.16
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• pp.257-272
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• 2013

This paper analyzes six different ways of articulating the relationship between art and politics. It calls attention to the differences that lurk behind the seemingly simple phrase-everywhere in vogue today-the "politics of aesthetics." Five of these models are drawn from contemporary discussions regarding the politics of art. The last model is the attempt to develop an account of the politics of aesthetics that is faithful to the difficult and ambiguous dimensions of the aesthetic experience that were hinted at by the texts of classical philosophical aesthetics. Most notably, this paper is concerned with the idea that the aesthetic experience can be understood as a form of disinterested contemplation-one that is not reducible to cognitive or moral considerations-and with some of the consequences that this entails. It explores some of the political significance that can be attributed to this idea of disinterested contemplation, arguing that the aesthetic should be understood as a withdrawal from the world's pre-established meanings. Unlike some of the other thinkers discussed in this paper, this author doubts that a single, uniform meaning can be ascribed to the aesthetic experience. I thus argue that we need to approach the aesthetic through the networks of textual significance that have been built up around it. Throughout this paper, I attempt to explain how the efforts to link art and aesthetics to politics simultaneously give rise to ideas about the nature of the human community. In looking at the sixth and final model, what I have called the "anarchical politics of aesthetic ambiguity," I argue that the aesthetic tradition offers a rather unique way of understanding the relationship between the individual and the community. Here, we see that the aesthetic is prone to a number of paradoxes, central among them the one that makes art the bearer of a solipsistic pleasure in which we nevertheless discover our capacity for genuinely communicating with others, outside of cliches and banalities.

• Research in Community and Public Health Nursing
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• v.24 no.3
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• pp.323-331
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• 2013

Purpose: The study attempted to examine whether the group art therapy using a collage medium and reminiscence therapy prevented or reversed dementia, prevented depression, and improved the quality of life of elderly women at high risk for dementia in community public health centers. Methods: As a quasi-experimental study with a non-equivalent control group, this study used a pre-post design. The subjects consisted of a random sample of women over 65 years of age who had been registered as being at high-risk for dementia at the Public Health Center of the G City, and the Dementia Support Center. Of these elders, 30 were assigned to the experimental group and 33 to the control group. The intervention was conducted twice a week for 5 weeks. $x^2$-test, t-test, Wilcoxon test were used to analyze the data. Results: After the program, cognitive function, depression, and quality of life were significantly better in the experimental group than in the control group. Conclusion: The group art therapy can be utilized in community-based nursing practices by identifying and registering those who are at high risk for dementia. The results should prove useful when designing future intervention strategies targeting elderly individuals residing in communities.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.815-819
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• 2023

Currently, China's urban space is gradually changing from gradual development to inventory transformation. The planning and development goals of urban communities have also shifted from material space construction to the direction of sustainable development of humanities and society. Currently, community planning and construction at a single latitude, which focuses on residential life, overlooks the multidimensional elements of community life production, causing many problems such as cold relationships between communities and difficulties in forming relationships between humans and the environment. Therefore, this article re-recognizes the sociality of the community in the continuous unification of the community in time and space, clarifies the central and private aspects of the community, and re-explores the dynamic creation and methods of the community as the starting point of daily life.

• The Journal of Art Theory & Practice
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• no.4
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• pp.181-202
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• 2006

"When it comes to art, nationalism is a goodticket to ride with", says the title of a report in the Indian Express (Mumbai, 29 Oct 2000). The newspaper report goes on to say that since Indian art was kept "ethnic" by colonialism, national liberation meant opening up to the world on India's own terms. Advocacy, at the tail end of the 20th century, would contrast dramatically with the call by Rabindranath Tagore, the founder of the academy at Santiniketan in 1901, to guard against the fetish of nationalism. "The colourless vagueness of cosmopolitanism," Tagore pronounced, "nor thefierce self-idolatry of nation-worship, is the goal of human history" (Nationalism, 1917). This contrast is significant on two counts. First is the positive aspect of "nation" as a frame in art production or circulation, at the current point of globalization when massive expansion of cultural consumers may be realized through prevailing communication networks and technology. The organization of the information market, most vividly demonstrated through the recent FIFA World Cup when one out of every five living human beings on earth watched the finals, is predicated on nations as categories. An extension of the Indian Express argument would be that tagging of artworks along the category of nation would help ensure greatest reception, and would in turn open up the reified category of "art," so as to consider new impetus from aesthetic traditions from all parts of the world many of which hereto fore regarded as "ethnic," so as to liberate art from any hegemony of "international standards." Secondly, the critique of nationalism points to a transnational civic sphere, be it Tagore's notion of people-not-nation, or the much mo re recent "transnational constellation" of Jurgen Habermas (2001), a vision for the European Union w here civil sphere beyond confines of nation opens up new possibilities, and may serve as a model for a liberated sphere on global scale. There are other levels of collectivity which art may address, for instance the Indonesian example of local communities headed by Ketua Rukun Tetangga, the neighbourhood headmen, in which community matters of culture and the arts are organically woven into the communal fabric. Art and collectivity at the national-transnational level yield a contrasting situation of, on the idealized end, the dual inputs of local culture and tradition through "nation" as necessary frame, and the concurrent development of a transnational, culturally and aesthetically vibrant civic sphere that will ensure a cosmopolitanism that is not a "colourless vagueness." In art historical studies, this is seen, for instance, in the recent discussion on "cosmopolitan modernisms." Conversely, we may see a dual tyranny of a nationalism that is a closure (sometimes stated as "ethno-nationalism" which is disputable), and an internationalism that is evolved through restrictive understanding of historical development within privileged expressions. In art historical terms, where there is a lack of investigation into the reality of multiple modernisms, the possibility of a democratic cosmopolitanism in art is severely curtailed. The advocacy of a liberal cosmopolitanism without a democratic foundation returns art to dominance of historical privileged category. A local community with lack of transnational inputs may sometimes place emphasis on neo-traditionalism which is also a double edged sword, as re kindling with traditions is both liberating and restrictive, which in turn interplays with the push and pull of the collective matrix.

• International Journal of Advanced Culture Technology
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• v.9 no.4
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• pp.1-8
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• 2021

Since the late 20th century, various projects in the public domain where local communities and art organizations collaborate have been attempted in miscellaneous ways. In terms of anticipating an active attitude of the community, socially engaged project focuses on proactively changing everyday life and environment of people. An art collective, Assemble who won the Turner Prize in 2015 for one of their projects named Granby Four Streets (2013) has been admitted as an exemplary of this phenomenon, and it appears frequently in discussions about community-led projects. We investigate Granby Four Streets, as well as the documentation formed by the perspective of third parties based on the surveillance and criticism aspects. It asserts that the limitation of socially engaged projects that are kept ephemerally and easily forgotten could be overcome with the concept of documentation and its practice.

• Journal of Science of Art and Design
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• v.2
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• Journal of the Korean Home Economics Association
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• v.45 no.10
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• pp.21-31
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• 2007

The purpose of this study was to clarify the factors that characterize the fashion brand online communities that have a high participation rate among high school students, and to determine the impact of those factors on the high school students' commitment to the community, especially in relation to their demographics. The study was implemented through a descriptive survey method using an online questionnaire. The sample consisted of 301 members of online fashion brand communities operated on the Daum portal site. The data were analyzed by frequency, factor analysis, and regression analysis. The results are as follows: (1) Factor analysis revealed that the characteristics of a fashion brand online community are associated with three factors ; compensation/interest, interactivity, and information. (2) Regression analysis showed that the more compensation/interest, opportunity for interaction, and information the community provides, the more likely high school student members are to show a higher level of commitment to the community. (3) There was no difference in the effect of community attribute factors on the high school student members' commitment to the community according to gender. The group of students majoring in human and liberal education was the most influenced by the attributes of fashion brand online communities. The interactivity factor had a greater impact on the group of students majoring in art and physical education than on the other groups. The greater the use of the Internet, the greater the impact of community attributes on commitment. (4) In the process of developing an online community, marketers should fully consider the fact that information factors have the biggest impact on high school students' commitment to the community. Therefore, greater effort should be made to differentiate between community attributes based on high school students' majors and their amount of Internet use in order to motivate commitment to the community and brand loyalty as well.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.106-115
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• 2012

The 21st century is the era of the center of the Originality(of thought). It also emphasizes creativity and creative education policy based on the new changes are dreaming. Creative education through art grasp the essence of things, seek express oneself, and brings cognitive ability. An educatee promote the development of creativity and insight on things other than the existing. New thinking will gain the ability to make rational faculty of the mind and principle. Creative education implement in homes, schools, communities, public agencies, private organizations, and running through the creative environment, but the number of trainees are exposed to extremely rare. The creative practice book in charge of creative education of the dissemination insufficient of research and development in reality. The creative practice book requires a new approach. It can be seen easily accessible environment where everyone should be able to provide for nationwide. In this respect, the creative practice book through art to begin consideration, is studied a whole spectrum, and be published in variety of practice books.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.2
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• pp.13-26
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• 1985

^x The enviroment defines the living conditions for people and has at the same time the possibility to create new environment. In Korea, where the rate of urbanization reached more than 50% in 1970′s the priority has been put on the economic development and administrative function. Under the circumstance, visual environmental field was dealt lightly and it resulted in undesirable environment. The techniques of Mordern Arts (Montage, Depeysment, Tromp L′oeil, P.O.P Art, etc.) helped Super Graphics appear in the urban areas. Environmental Art has been expended into the public space and people came to recognize the Arts as the "Street Art" or "Street as Gallery". Super Graphics has four types 1) Resident′s Super Graphics ; Minority groups came to maintain social equality and rights, in cooperation with each other. Such maintenance required general urbanites to form communities which gave birth to the community art, Mural Painting. 2) Environmental Super Graphics ; Beauty has come to be stressed in order to improve the quality of urban lives in the course of inescapable urban development. Instead of renewal of all established construction conservation oriented renewal was encouraged. 3) Super Graphics as Population Arts ; In the 1960′s artists repulsed the establishments in an efforts to open new phase independent from the expressional in the arts. They recognized the relationship between painting, society and the public in different angle and tried to describe all living space on canvas. 4) Super Graphics as Advertisement ; Super Graphics functions as efficient media to deliver images to the urbanites. Super Graphics as media plays the role for political propaganda and commercial advertisements according to their purposes. In Korea, especially, it is required to introduce the environmental Super Graphics. But it is desirable to introduce Super Graphics with Korean culture and sense of beauty. Designers themselves are also required to have responsibility to improve the quality of urban culture.

• The Journal of Asian Finance, Economics and Business
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• v.9 no.9
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• pp.291-298
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• 2022

The most crucial elements of SME growth and development are performance and innovation. In actuality, SMEs find it challenging to enhance their performance and innovation due to limited access to resources. Collaboration with other SMEs in the form of local communities can be an alternative solution to gaining access to external resources. Unfortunately, not many studies have explored the role of the local SME community in the development of innovation and performance of SMEs. This study tries to fill this gap by examining the role of local communities in expanding SMEs' access to resources, in their efforts to improve innovation and performance. Data was collected using an online questionnaire distributed to food and beverage SMEs in Malang Regency. As many as 150 questionnaires were received and considered valid for statistical data analysis using the WarpPLS program. The results show that the SME community plays an important role in improving the innovation and performance of food and beverage SMEs. It is also found that innovation can be a good mediator of community relations with the performance of SMEs. Furthermore, it is also confirmed that the SME community moderates the relationship between innovation and the performance of food and beverage SMEs.