Korean | English

pISSN : 1229-0246

2020 KCI Impact Factor : 0.45
Aims & Scope
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The Journal of Aesthetics and Science of Art aims to accumulate the results of academic research into beauty and art, and furthermore, its ultimate goal is to contribute practically to the various fields of art that take place in the social community and at the scenes. This journal asks and re-establishes the characteristics and meanings of the contemporary beauty and art in the age we live through studies on the understandings of beauty and art that have been developed diversely along with changes in religions, ideologies, and social cultures thereby promoting new thinking in the  arenas of education, social culture, and life, leading to advancement toward a richer and more open future.   Under the goal as such, this journal is not limited to traditional philosophical aesthetics, but pursues academic approaches to the fields of special arts based on the foregoing. Accordingly, this journal encompasses scientific studies of aesthetic theories, and fields of art, theories and practice, philosophical questions, and phenomena in individual art genres, and promotes studies that take notice of the correlation between theoretical universality and other artistic practices. Through the foregoing, this journal aims to serve the function to mediate between theories and practices by inducing practical discourses in the field of art and providing theoretical systems.   In doing so, above all, the core purpose of this journal is to promote not only individual art theories regarding beauty and artistic phenomena in the fields of literature, art, music, dance, sports, film, theater, and photography but also integrative and interdisciplinary studies that connect and intersectionally contemplate the foregoing studies. In addition, the fact that this journal promotes metacritical studies that rethink the meanings and validity of theories and research methodologies derived from individual fields of art on an aesthetic basis can be said to be the distinctiveness of The Journal of Aesthetics and Science of Art different from other journals.   Since studies of beauty and artistic phenomena are conducted in the general aesthetic aspect regarding the concept and characteristics of terms and meanings in general, and in the special aesthetic aspect regarding individual art genres, artists, and works of art, and individual aspects can be explored with historical longitudinal studies and transverse studies by age, the scope of publication of this journal is universal aesthetics, special aesthetics, and all studies conducted in historical and periodic perspectives in both areas.   Concretely, both Oriental and Western histories of aesthetics, ancient aesthetics, medieval aesthetics, modern aesthetics, contemporary aesthetics, art history methodologies, art history theories, art theories (fine art, music, dance, film, theater, photography, etc.), art criticism, media aesthetics, media theories, studies on the aesthetic characteristics of individual artists' works and art trends, and recently encouraged studies on science, environments, and cultural signs of the postmodern era can be published in this journal. In particular, meta-studies and convergent studies on these theories can be highly regarded as studies that best fit the characteristics of this journal.     
Editor-in-Chief
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Jeong-Im Kwon

(Kangwon National University)

Citation Index
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  • KCI IF(2yr) : 0.45
  • KCI IF(5yr) : 0.43
  • Centrality Index(3yr) : 0.9
  • Immediacy Index : 0.0455

Current Issue : 2021, Vol.63, No.

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  • Plastic Urbanism: The Anthropocene, Assemblage, and the City

    Seunghan Paek | 2021, 63() | pp.6~39 | number of Cited : 0
    Abstract
    This article explores a new model of urban practice that is not limited by environmental moralism by investigating theories of plastic, which is today’s prevailing environmental problem and also a ubiquitous strata of everyday life. In doing so, it investigates the following two things. The first is to speculate about the ontological dimensions of plastic. Often thrown away after a single use and thrown into the ocean in the form of microplastics, plastic is rubbish and also a toxic material influencing climate change on a global level. It is both a problematic material and an object to overcome. However, such an objectification is a result that does not pay enough attention to its ubiquity. By considering plastic as a crucial form of life, this article pays close attention to its ontological dimensions. The second thing is to examine “assemblage urbanism” as a new form of urban model that could be further explored in relation to the plastic ontology. Assemblage urbanism brings Gilles Deleuze’s notion of assemblage into urban discourses, thereby trying to rethink the conventional theories of the city, represented by its counterpart known as “critical urbanism” that highlights an analytical approach. This article examines the debate between those two camps, which appeared in serial issues of the journal City in 2011, as well as paying attention to the weak points of assemblage urbanism. What this article derives through the investigation is a theory called “plastic urbanism”, a new form of urban practice that is not subjugated by the Anthropocene as a grand narrative, but offers a microscopic and diagrammatic model of the city.
  • Plastic De/coloniality

    Kyeongeun Park | 2021, 63() | pp.40~64 | number of Cited : 0
    Abstract
    This study, at the intersection of decolonial studies and nonhuman discourses, attempts to address the materiality and vitality of plastic litter and its currents. Behind the flow of plastic waste and its natural environment occupation, we discover the dark side of the human-centered narrative of modernity. Plastic waste reproduces and fortifies the world’s racial, gendered, and socioeconomic structure by contaminating and impacting the marginalized lives of humans and nonhumans. Plastic creates the global environment’s flow and persistently engenders another form of colonial structure by revealing the limitations of the human-centered modern world view through natural and social crises. At the same time, plastic waste shows that unruly and vital materiality is out of human control throughout the world’s topography reformation. In this sense, the plastic flow visualizes the silenced nonhuman world, the otherness that is the colonial difference of the nonhuman power hidden in the anthropocentric modern world. By examining the figure of plastic litter in Alejandro Durán’s artistic project Washed Up, this study intends to analyze the possible forms of decolonial topography and coexistence between human and nonhuman lives.
  • In the World of Hyperobjects and Nano-objects: Ji-Hye Yeom and Networked Objects

    June-Seok Lee | 2021, 63() | pp.66~95 | number of Cited : 0
    Abstract
    This article deals with the theoretical possibilities of expanding object-oriented ontology. In the first half of the article, it is argued that both object-oriented ontology and actor-network theory can gain theoretical edges when applied together. This article uses some famous examples from science and technology studies (STS) to show this. After that, the concepts of hyperobjects and nano-objects are explored. Hyperobjects are objects that are so vastly spread out in time and space that humans cannot easily recognize them. Nano-objects, a new concept suggested in this article, lie on the opposite side of the spectrum to hyperobjects. Nano-objects are so miniscule that humans cannot easily recognize them. Five characteristics of nano-objects have been identified so far: translucency, global locality/local globality, technoscientific relatedness, crossover existence between the nature/culture divide, and their scattered existence. At the end of the article, artist Ji-Hye Yeom’s work will be analyzed as a case study.
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