• Title/Summary/Keyword: new spirit

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A Study of Approach to the Religious Faith in Industrial Design - Especially on the Creative Idea of Christianity - (제품디자인과 종교적 사상의 근접성에 관한 연구 - 기독교적 창조사상을 중심으로 -)

  • 박규현
    • Archives of design research
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    • v.12 no.3
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    • pp.29-40
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    • 1999
  • Walter Gropius, famous architect of Bauhaus, once treated of pure mind which was revealed in the system of object and its phenomena through sense of sight while examining material being and illusive being. And Thomas Aquinas said that man can have a creative power only with modest mental state void of prejudice saying that he expected God to come to him after his soul went out of him. The same thing was said by so many great philosophers and thinkers other than him. I think his saying, "God comes after Soul's escape from the body for a new creation", has a real truth for all times and places and beauty itself beyond expression. Why\ulcorner The reason why the saying is so true is because it has a Yin and Yang Idea, that is, the Soul means a dark spirit correspondent to Yin between both oriental ideas and God does a bright spirit correspondent to Yang between them. By reason of this idea, I would like to assert that we should take it granted that we stand in need of the same bright Yang's spirit as God has for the new creation, and let the Yang's bright spirit come to our minds. We can call it divine 'Providence', or call it God's guidance, which we cannot help accepting as a man's fatality. As God was pleased after he made man and all the creatures by dint of his design, so man was pleased after he made everything he needed by the same design that he accepted from God. In spite of pleasure of different dimensions from what God and Man has each other, their way of empathies were all the same. In this paper I compared a worldly lower conception by which man designed his products for his sensuous satisfaction with a higher conception by which God designed his creatures for his mental satisfaction. I intended to infer what destined relation there must be between both God's and man's creations, trying to remind designers that they have to confess to have not so divine a providence as God has for creation because I think the real truth is that they had regarded their works of product design as a routine occurrence for their physical convenience in the industrial plans.ial plans.

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Art and Fashion Design Based on Charles Baudelaire's Aesthetic Perspective (보들레르의 미적 관점에 의한 예술과 패션디자인)

  • Kim, Yon-Son;Geum, Key-Sook
    • Journal of the Korean Society of Costume
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    • v.58 no.1
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    • pp.17-32
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    • 2008
  • This study focuses on the analysis of Baudelaire's aesthetic perspective which has established a theoretical basis on research of the critical reviews' salon exhibitions as written by Baudelaire. Charles Pierre Baudelaire(1821-1867) having lived during the latter part of Neo-classicism and the era of Romanticism and Impressionism, Baudelaire displayed opposition to customary realities such as social ideology or religious authority that suppressed human nature. Also he pioneered a new genre known as art criticism and wrote much that provided important insights on the essential elements of artistic work, modernity and trend, as well as art definition and art categories. The aesthetic perspective and creative spirit were formed by Baudelaire, during his age were also reconfirmed in the successive ages of modernism and postmodernism. As such, this study sheds light on how Baudelaire's aesthetic perspective was not only temporarily assertion but it is consistently applied to modern art and fashion area. What is more important that, Baudelaire admired new artificial beauty that is created by the human soul liberated from natural instincts or desires. Especially, informed by strangeness and distinctiveness, Baudelaire's view of fashion ran along the same vein as his view of art, and these views form the basis of that creative spirit which situated western fashion on a center of the world. In conclusion, the research on Baudelaire's aesthetic perspective will reaffirm a firm awareness of the creative spirit essential to globally-oriented creative artists and designers who work within the circumstance of the 21st century, a time when the paving of new aesthetic paths is necessary. The research also offers a clear understanding of the aesthetic values demanded by this age.

The Study on the Characteristics of Material appeared in the Architecture of Mies van der Rohe (Mies van der Rohe 건축에서 나타난 재료의 표현특성에 관한 연구)

  • Lee, Byung-Wook;Kim, Yong-Seung;Park, Yong-Hwan
    • Korean Institute of Interior Design Journal
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    • v.13 no.6
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    • pp.12-19
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    • 2004
  • Mies van der Rohe is still known as the architect whose influence is the largest among modem architects. As his work is typical of modern architecture, the architecture of Mies shows an interest in materials and techniques, even though It established the new architectural world by glass and iron, and only transparency is emphasized with glass. So it is blame for the loss of peculiarity a result of thinking In the way of sachlich with expression and structure of material and hierarchical relation. Vincent Scully has insist on that an appearance of modem architecture be occur not by simply a technical request of a technician but by reflection of the times and times' spirit. In this means, the works of Mies is the trial to express the new times' spirit that the new times order and an understanding of material properties about glass with new material of modern. For that, this study tries to consider that Mies'work is the new trial through reflection of material to express about the bstraction beyond the limit of sachlich expression, on the point of expresslonal characteristics of material shown in plan of the Barcelona Pavilion and skyscraper and on the basis of the theory of Gottfried Semper and Karl Boetticher that architectural surface Is a medium which can define space and also express mass.

Belle Epoque and Dadaism in the Modern Culture (벨 에포크와 다다이즘 - 근대문화의 총체와 해체)

  • Lee, Byung Soo
    • Cross-Cultural Studies
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    • v.33
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    • pp.171-192
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    • 2013
  • The article is a research about the Belle Epoque era and Dadaism in the modern culture as a whole and separate. The years from 1890s to 1914, is known as the Belle Epoque era, in which the European continent including France had developed the climax of the modern culture after the Renaissance. At the same time, it was the period where the postmodern developments were being spread, leading to the present days. Moreover, the main ideologies in art that led to the cultural advancement of the time were impressionism, cubism, art nouveau, evolutionized painting category, symbolism and futurism. It was a literature category that was maintained to present Dadaism and surrealism. Dadaism began since the magazine, Bulletin Dada was published, originating in 1916 by Tristan Tzara of Zurich, Switzerland during the WWI. The extreme motto that the Dadaists supported was a contradiction, as they had to dissolve from their own art movements and expression techniques. However, until Andre Breton introduced 'Manifeste du Surrealisme' in 1924, the "Dada group" had a tremendous influence in France as an epicenter and rejected the modern cause and art that continued during the time, thus attempting its dissolution. First, they rejected the ideology, ethics and customs of rationalism from the previous system and demonstrate an anarchical and anti-bourgeoisie characteristic. They also reject the French lucid thoughts and the artistic techniques. They strongly emphasized on their motto "The idea is created from the mouth", while reframing from the philosophical ideology and at the same time, attempting to express the psychical unconsciousness. Second, the most important catchphrase that the Dadaists supported was the theory of negation. The question "Why do you write?" connotes the negative consciousness about the artistic value and the stereotyped method of the preexisting writing and drawing. Third, the Dadaists bring forward a radical query about all of the former esthetic and morals, and reveal an admirable resistance spirit. They emphasized on the slogan "Dada, means nothing" and insist on 'the anti-literal Dada, anti-artistic Dada, anti-musical Dada'. The Dadaist movement manifested their resistant spirit and the new artistic spirit through the publication of , , and most importantly through the magazine . Fourth, the Dadaists embodied the volume, density, and quality into an image through the auto-technical, cubistic writings and drawings. They ignored the fixed form of arrangements, verses, and rhymes of a poetic diction. The Dadaists utilized an unfamiliar and inversed expression method of applying the combination of the size of print, or capital letters and lowercase letters, even combining printed and handwritten writings. As presented, the auto-technical and cubistic characteristic of expressing the auto-psychical ideology into writing is called as the radical aesthetic and moral and can be considered as the most essential cause of the Dadaists' avant-garde features. As a conclusion, Dadaism demonstrated dual characteristics of consuming the nutritive elements of the modern culture through the most powerful resistance and liberation of the artistic movement of the Belle Epoque era, where at the same time, it deconstructed the modern art. By revolting against the former grounds and expression techniques, and dominating the era with the new artistic spirit, their resistant actions were artistic movements that symbolized the dissolution of the modern times. Moreover, the Dada's expressionism and resistance of saying "There's nothing" can be evaluated as postmodernity's initiative of outweighing the modern history and opening the door for new period of nowadays.

An Approach to the Landscape Architectural Profession and the Official Position of the Korean Government in the 21st Century

  • Kwon, Sang-Zoon
    • Journal of the Korean Institute of Landscape Architecture International Edition
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    • no.1
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    • pp.237-246
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    • 2001
  • We need to have a universal system for the landscape architectural profession at the national level which focuses on public facilities from an aesthetic point of view and emphasizes the landscape architectural identity and traditional idiosyncrasy in Korea society. There should be established independent official positions in governmental systems in order to work practically in the field of landscape architecture concerned with ecological and environmental stability. Professionals should be acquired and diversity maintained for administrative efficiency, so that the governmental official position could create practical need and a theoretical approach to the human needs for environmental quality and ecological stability. In order to pursue the public good, we need to establish a new community and promote a global spirit, which include an ecologically stable environment developed through professional landscape architectural harmonization. The landscape architectural profession requires a new community spirit suitable to modern society, so that the Korean people continue a tradition of cooperative control of the common wealth and the labor market.

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The Aesthetic of Baroque Costume Focused on the Gilles Deleuze's 'Le Pli' and Baroque (들뢰즈의 주름 사유와 바로크를 중심으로 본 바로크의 복식미)

  • Sung, Kwang sook
    • Journal of the Korean Society of Costume
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    • v.65 no.8
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    • pp.64-76
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    • 2015
  • Gilles Deleuze highly evaluated Baroque as the expression body that implements the fold theory, a philosophical thinking about the nature of beings. This can be seen as a meaning that Baroque implements the essence of the world, or the power constituting that essence. In addition, the beauty of Baroque focuses on 'New Harmony' the sum of partial forms caused by each element, and not Platonic harmony. he evaluated the aesthetic of Baroque costume as 'acquisition of liberation and autonomy', 'derived force from infinite spiritual forces'. This study analyzed the contents of the Aesthetic of Baroque costume based on the reviewed Deleuze's folding theory, Baroque aesthetics, and views of Baroque costume. As a result, it inferred the aesthetic of Baroque costume into four types, which are as follows: open structural openness, overlapping structural dynamics, integrated structural diversity, and relationship structural integrity. This study analyzed the aesthetic of Baroque costume based on Deleuze's philosophical thinking. The analysis showed that its aesthetics, which focused on "New Harmony", created energy of life and a venue for expression of power, as the aesthetics eliminated the prejudice of complexity and excessive decoration. In addition, Baroque costume is not the simple historical costume of the past. Instead, it is one of power and spirit, still existing in modern fashion. Baroque costume's formativeness and Paradigm can be said to provide the creative principle important for modern fashion because the aesthetics implemented in Baroque costume accepts free spirit, new challenge, difference and diversity, and is similar to the spirit pursued by modern art and fashion.

A Study on the Artistic-quality of Furniture -Focused on the Analysis of Contemporary Art Furniture- (가구의 예술성에 관한 연구 -현대 아트 퍼니처 작품분석을 중심으로-)

  • Choi, Byung-Hoon;Hong, Min-Jung
    • Journal of the Korea Furniture Society
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    • v.22 no.1
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    • pp.42-53
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    • 2011
  • This article aimed at identifying the concept of 'artistic-quality' of furniture and presenting the concept of 'artistic-quality based furniture creation' as the future direction of furniture design. For this, the authors approached to the theoretical background of the concept of artistic-quality, and then examined the prospect of practical application of the concept by analyzing the tendencies in today's art furniture. In this light, 'artistic-quality' of furniture could be understood as a quality that triggers the designer's venturous spirit throughout the process of furniture creation, so that the designer keeps seeking for the novelty and innovation in his experimental design and process. The feature of the current tendencies of art furniture in terms of the expression and effect, which could explain this venturous spirit of artistic-quality based furniture creation, could be summarized as follows; first, High-touch: Furniture that exemplifies the artistic-quality by specific texture of handmade quality, second, High-feeling: Furniture that arouses the new feelings and new concepts of furniture structure & function by experiments on new abstract forms of furniture, and third, High-mentality: Furniture that leads us to the sphere of subtle aesthetic recognition and mentality with its specific poetic expression and sensibility.

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Study on Listening Diagnosis to Vocal Sound and Speech (문진(聞診) 중 성음(聲音).언어(言語)에 대한 연구)

  • Kim, Yong-Chan;Kang, Jung-Soo
    • Journal of Physiology & Pathology in Korean Medicine
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    • v.20 no.2
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    • pp.320-327
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    • 2006
  • This study was written in order to help understanding of listening diagnosis to vocal sound and speech. The purpose of listening diagnosis is that we know states of essence(精), Qi(氣) and spirit(神). Vocal sound and speech are made by Qi and spirit. Vocal sound originates from the center of the abdominal region(丹田) and comes out through vocal organs, for example lung, larynx, nose, tongue, tooth, lip and so on. Speech is expressed by vocal sound and spirit. They are controled by the Five Vital organs(五臟). Various changes of vocal sound and speech observe the rules of yinyang. For example, if we consider patient likes to say or not, we can diagnose heat and coldness of illness. If we consider he speaks loudly or quietly, we can diagnose weak and severe of illness. If we consider he speaks clearly or thick, we can diagnose inside and outside of illness. If we consider he speaks damp or dry, we can diagnose yin and yang of illness. If we consider change of voice, we can diagnose new and old illness. Symptoms of changes of five voices, five sounds, dumbness and huskiness are due to abnormal vocal sound, and symptoms of changes of mad talk, mumble, sleep talking and so on are due to abnormal speech.

A Service Management Model as the New Business Administration (새로운 경영으로서의 현대 서비스경영 모델)

  • Kim, Hyunsoo
    • Journal of Service Research and Studies
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    • v.10 no.2
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    • pp.91-108
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    • 2020
  • This study was performed to derive a modern service management model reflecting the philosophy of the new business administration. Service management as the modern business administration should be faithful to the spirit of modernity. In addition, service management must be faithful to the essence of service in service economy era. And since modern management is to manage organizations those are the central organizations of human society, it must be managed according to the common principles of the world. Management that satisfies these three management philosophy conditions is defined as modern service management. In this study, we analyzed that the existing service management framework does not meet these standards of modern management and derived an improved modern service management model. The modern service management model must be a management model that reflects the essence of intangible goods called service, it must be a management framework that reflects the modern spirit, and it must be a management model that reflects the common principles of the world required by the central organization of the modern economic society. Therefore, this study analyzed the modern spirit in addition to the service essence and the common principle of the world analyzed in the previous study, and presented a modern service management model with these three requirements. Also, examples of modern service management were presented. This study is a conceptual model, and analytical research is needed to demonstrate that this management model can consistently produce excellent management performance by strengthening empirical studies in the future.