Korean | English

pISSN : 1229-0246

Home > Explore Content > All Issues > Article List

2017, Vol.52, No.

  • 1.

    “You live and do me no harm.” Aby Warburg's thought-space and image

    Seung-Chol Shin | 2017, 52() | pp.3~39 | number of Cited : 5
    Abstract PDF
    This paper critically examines the lecture on Serpent ritual, which was planned by Aby Warburg to overcome his schizophrenia and the obscurantism. Warburg's lecture focused on the images from the region of the Pueblo Indians in North America. In his lecture, Warburg tried to show his scholarly ability and to enlighten the disordered world. He is highly interested in overcoming realities and making distance from them. Warburg focuses on the ritual, in which American indian cope with the painful reality symbolically. They visualize the phobic object, such as snake and lightning, and adjust its destructive energy in the activity of symbol. European technological civilization interrupts the thought through the image, whereas American Indian people have been raising possibility of the various relationship with environment in their own way. Warburg called it as magical causality. Warburg tried to build the cultural memory on the basis of symbolic praxis. He arranged space for the activity of image, namely thought-space, in the European culture. For Warbirg, this is the fundamental act for civilization to prevent the annihilation of distance from painful reality. In his lecture, Warburg achieved successfully his purpose to build thought-space, and he constructed his own methodology for his future project, image-atlas mnemosyne.
  • 2.

    About Self-consciousness and Prometeus-Eros Symbol in the Renissance Study of Ernst Cassirer

    Jung-Hee Chu | 2017, 52() | pp.41~72 | number of Cited : 0
    Abstract PDF
    The object of this study is to give shape to the symbolic form in Ernst Cassirer's way of thinking. This idea will be examined in his study of the renaissance that was discussed the building and the development of self-consciousness. So, the meaning of the symbolic form will be manifested in dealing with the idea of the renaissance and symbolic images embodied self-consciousness in it. First, the meaning of the symbolic form that Ernst Cassirer mentions in his books will be discussed. And the critical and p​henomenological method as it's way of thinking will be discussed. So, this study will show the grounds for that the certain ways and directions of the objectification of mind are defined as the symbolic forms as language and art, and so on. Second, Ernst Cassirer’s study of the renaissance philosophy will be discussed. It is due to the self-developing movement of mind to comes out here. The ideas of the renaissance concentrated all their energy on this. So, the matter of subject and object, the concept of individuality and relativity of consciousness will be discussed from theory of Nicolaus Cusanus about that the finite recognizes Infinite Being here. Third, symbolic images in the philosophical thought and the artistic works that show the viewpoint of self-consciousness of the renaissance will be discussed. They are prometheus image and eros image. Prometheus image symbolizes the spirit of freedom. Eros image symbolizes the self-developing movement of mind. This study will show prometheus-eros image as whole image of the renaissance mind that images such as microcosm, adam, prometheus, eros cross each other. Fourth, it will be examined that Ernst Cassirer's way of thinking in the symbolic form has reasonableness in his study of the renaissance. This study will show the symbolic form is not only the expression of life of human mind but also leads it to the future.
  • 3.

    Thinking Contemporaneity through Image : Alain Badiou's Conception of Image

    Chang Tae Soon | 2017, 52() | pp.73~95 | number of Cited : 0
    Badiou did not seem to have given the concept of the image any serious thought, despite his extensive work on the philosophy of art and the commentaries of other contemporary philosophers such as Foucault, Deleuze or Lyotard. However, in Images du temps présent (Images of the Present Time), Badiou turns to image as a way of interrogating contemporaneity. More specifically, he refers to Jean Genet's play Le Balcon (The Balcony), in which he discerns four major elements: 1) structure, 2) truth or exception to the structure, 3) bare power, and 4) the emblem of bare power. Badiou claims that the play shows how an exception to the structure is “normalized” by the emblem of bare power. Here image plays a crucial role because it serves as an emblem of bare power. Badiou draws an analogy between the four elements in the play to contemporary society, where today's emblem of bare power is democracy. To fight this emblem, Badiou proposes to set up a kind of “image” of the exception, which he calls as “idea.” The image we need today is communism, and as a reference to this insight he named a series of conferences “The Idea of Communism.”
  • 4.

    Deleuze's Film-Philosophy : Thinking through Images

    Jiyoung Lee | 2017, 52() | pp.97~121 | number of Cited : 0
    This study poses a basic question about Gilles Deleuze's film-philosophy in order to resolve some misunderstandings and elucidate the practical implications of his film-philosophy: What Deleuze wants to mean with numerous examples of films and convoluted philosophical discussions in Cinema Books? Some criticize that Deleuze's film-philosophy has no practical implication due to their misapprehension that his film-philosophy is limited to the aesthetic analysis of filmic form and style, and only to esoteric European art house films. I think that these can be resolved if one understand the directionality that his philosophy implies through examining the context where his film-philosophy lies. For this purpose, this essay will present what Cinema Books wants to purport in relation to the concepts which are produced in A Thousand Plateaus and What is Philosophy. Since one can identify the relationship between philosophy and art, the goal of artistic creation and the structure of artistic thinking in What is Philosophy, and the practical implication of his philosophy in A Thousand Plateaus. Also, these works make us assure the ruptures of becoming that the multiple layers of Cinema produces. From these contexts, this study will examine how the co-creation of many concepts is being formed in Cinema Books. Thus, this article examines what Cinema wants to show in relation to following concepts at the crossroad of his other works: decentralisation, dehumanisation, deterritorialisation, time and life. Understanding of the relationship, as co-creation, between these concepts will help us overcome the misunderstandings that have surrounded Deleuze's film-philosophy.
  • 5.

    Why do Human Images drawn on Gods' Paintings in Korean Shamanism read as Overlapping God's Images

    Hyun Kyung Lee | 2017, 52() | pp.125~165 | number of Cited : 1
    Abstract PDF
    Religious paintings have an order in the scene, which makes it easy for viewers to recognize the unrecognizable existence, because the paintings need to imply that the invisible god exists in the scene. Although shamanistic paintings do not deviate from this principle, unlike most religious paintings, they do not aim to show the hierarchy between god and humans, the contrast between the reality where a viewer is present and the space where god exists, and religious rules and hierarchies that divide the world into right and left or top and bottom. Korean shamanistic paintings constantly escape from figurative orders to give clarity to a certain object. In other words, they escape from the clear and orderly world created by Euclidian geometry by ignoring the anatomical basis of human expression and the depth cues to express a three-dimensional space, thereby eventually move forward to an unpredictable fractal dimension. The viewpoint, size, ratio, direction, color, position, pose, facial expressions, layout are consistently inconsistent with actual objects and cannot be predicted. These atypical characteristics suggest that the underlying figurative principle of the shamanistic paintings is similar to the working principle of fractal geometry which exhibits nonlinearity, randomness, and self-similarity. The fractal principle shown in the figurative format of shamanistic paintings is derived from a chaotic structure, which is a nature of the fractal principle. The concept of chaos is an important arche-pattern found in shamanism and shamanistic gods. The faith for blessing, which is the basis of shamanistic religion, aims for the believers not to be separated from their relationships and possessions in their real life, and from the success and honor that they gain as a result. The wish not to be separated from secular successes can be derived from the structure of polymerization and superimposition of shamanism. Additionally, the properties of scaling, distortion, and repetition of shamanism also are the main characteristics of chaotic structure. In general, religious paintings aim to transform the disordered human world, or the world of chaos, into the cosmic world where order is restored by the intervention of almighty divinity. But Korean shamanistic paintings do not change the chaos into the cosmos; instead, they present the actual chaos itself. In geometry, chaos is not a just confused state. It is a subtle, beautiful, and relative phenomenon that transcends the world of order and disorder, and the irregularities that encompass order and regularity. Therefore, the figurative structure of chaos allows us to realize the reason why Korean shamanistic paintings can let viewers to experience different perceptions with the unique sense of aesthetics.
  • 6.

    A New Understanding of Kim Jeong-hui's Wintry Days

    Song-Sig Jo | 2017, 52() | pp.167~203 | number of Cited : 3
    How do we understand Wintry days of Kim Jeong-hui? According to The pine tree of Wintry days and The Allegory of the artist given to it, Wintry days can be understood in three ways. First is the Li sang-juk's unchanging integrity in four season constancy. Second is the Kim Jeong-hui's stiffening spirit lived in exile in Jeju Island and kept his chin up in the difficult circumstances and pressures. Third is the friendship with whom Kim Jeong-hui and Li sang-jeok could join, and the expectation and hope for the future due to it. This thesis is to look at them in relation to the style of painting, Three friends of winter, The supine Pine, Two pine trees. Especially, to analyze closely the close relationship between Wintry days and Two pine trees has not been mentioned so far. Two pine trees in front of a thatched cottage with a bleak atmosphere is to symbolize the expectation and hope forward Great wealth and abundance that Kim Jeong-hui and Li sang-jeok will share their life and overcome with the hard and difficult circumstances. Such attempts for Wintry days will provide a new understanding of Wintry days.
  • 7.

    Rehabilitierung der Schönheit der koreanischen traditionellen bildenden Künste durch die Gedanken von I. Kant

    Jeong-Im Kwon | 2017, 52() | pp.205~256 | number of Cited : 0
    Die vorliegende Ariebit zielt darauf ab, die Charaktere der Schönheit der koreanischen traditionellen bildenden Künste durch I. Kants Gedanken über Schöheit zu rehabiliteiren. Dabei wird versucht, die koreanische traditionelle Schöheit im Rahmen der westlichen Diskussion zu erörtern und zugleich die Begriffe der westlichen Ästhetik zu reinterpretieren. Die Gegenstände der Analyse sind hauptsächlich die Begriffe ‘Interesselosigkeit’ und ‘Technik ohne Technik’, die Yoo-Seop Ko als die Hauptcharaktere der Schönheit der koreanischen traditionellen bildenden Künste gilt und die zu dem Charakter der koreanischen Naturschönheit gehöheren. Methologisch wird der Wurzel der koeranischen Naturschönheit aus dem Taoismus herausgefunden einerseits, und andererseits werden die Charaktere dieser Schönheit vergleichend mit I. Kants Gedanken analysiert. Es wrid dabei angenommen, dass es die Verwandtschaft zwischen Taoismus und Kant, besonders im Bezug auf den Gedanke über den freien ästhetischen Zustand und die reine ästhetische Lust der Naturschönheit gibt, obwohl beide Gedanken struktuell verschieden sind. Damit werden in der vorliegenden Arbeit zunächst Kants Bestimmung der Natur- und Kunstschönheit erläutert. Und dann werden die Begriffe ‘die höchste Lust (天樂)’ und ‘das Leere und Ruhe (虛靜)’ im Taoismus, ‘Interesselosigkeit’, ‘Technik ohne Technik’ und ‘die Wahrheit-Gutes-Schönheit’ vergleichend mit Kants Bedtimmungen der Natur- und Kunstschönheit unter dem neuen Licht betrachtet.
  • 8.

    A Study on Insik Quac's Spring Series

    Soon-Hong Park | 2017, 52() | pp.257~293 | number of Cited : 0
    This paper aims to examine how Insik Quac's (1919-1988) Spring series (1968) was produced in relation to his contemporaneous art movements. The serial works in which juxtapositions of black and white as well as combinations of two different materials are prominent, such dichotomous aspects of Spring reflect a transitional period of the Japanese art world. Providing an alternative perspective on the established art history, these noteworthy features of Spring reveal, in fact, the idea on art that Quac and an art group Genshoku shared together before the rise of Mono-ha. Issues that have to be rather discussed further with Quac's art can be summarised in two questions: First, why did he inevitably introduce certain unconventional materials for producing an artwork? Second, how did he manipulate such things? His Spring series summed up the problematic situations that many Japanese artists confronted at that time, and was reappraised by art critics in later days. Despite the current growing interest in the exchanges between Korean and Japanese artists of the 1970's seems apparent, rethinking of Quac's activities in the 1960's is a prerequisite for its full understanding.
  • 9.

    The Meaning of Korean Hyperrealism Paintings after 1990s in the Age of Post-Medium Condition : Focused on the Concept of Medium by Rosalind Krauss

    Na-Young Hur | 2017, 52() | pp.295~331 | number of Cited : 0
    Abstract PDF
    The goal of this study is to analyze hyperrealism paintings made since the 1990s. The hyperrealism painters have created and corrected digital images with digital cameras and computer programs. Then they paint shapes and vivid colors that can be perceived by human vision, on a canvas. This process is similar to the concept of reinventing the medium as told by Rosalind Krauss. She suggests that the reinventing of the medium overcomes the age of post-medium condition, where the identities of the media are blurred and mixed and are based on memories of obsolete media. In this regard, Korean hyperrealism paintings support paintings and canvases, but they also structure the paintings through the automatism method of the artists. Thus, hyperrealism paintings restore the representation of paintings, human perception, and narratives that were denied in Modernism. Therefore, Korean hyperrealism paintings, which have been attracting attention since the 1990s, can be analyzed as reinventing the medium for a new age, rather than following the old media.
  • 10.

    Meaning in ‘Constructive Craft’ : Josef Albers's Perceptual Pedagogy

    Sae-Mi Cho | 2017, 52() | pp.333~375 | number of Cited : 0
    The purpose of this study is to identify the implications of ‘constructive craft’ that Josef Albers mentioned in his letters and essays, and to explore its present possibilities. Comparing the concept of Albers's ‘construction’ with that of his contemporary avant-garde writers and artists, such as Russian Constructivists and Dutch Neo-Plasticism artists' construction, this paper examined the historical foundation of the concept of ‘constructive craft’. Unlike Russian Constructivists, Albers maintained a certain distance with political tendencies. His position was also different from that of Theo van Doesburg whose theory on interaction was quite similar to that of albers. Van Doesburg insisted that the property itself constituted by exact mathematical laws, whereas the subject of the construction of Albers was more likely to be understood as a maker-centered practices and associated with educational purposes. Albers argued that 'constructive craft' is related to the development of will and opposes dilettantism, which suggests that the concept of constructive craft is based on empirical philosophy in terms of education. The characteristics of Albers's pedagogy could be summarized as the following. 1) It focuses on economy and efficiency, 2) It offers an opportunity to grasp the physical properties of materials and to experiment the possibility by giving a new order. and 3) Based on ethics, it is designed to experiment the imperfection of human perception. The meaning of craft mentioned was seldom related to craft made by artisanal labor or aesthetic craft objects made by skilled craftsmen. Instead, the constructive practice constantly experiments with relativity through the methodology of variants, which means a more thorough re-doing of a whole or of a part within a given scheme. ‘Constructive craft’ was a perceptual pedagogy related to how to see the world in depth, rather than a means to change the world. Constructive craft was therefore not intended to produce a concrete outcome but rather to encourage the active exploration of material contingencies.
  • 11.

    The Influence of Vanitas Paintings in Contemporary Art Photography

    Hyun-Mok Jung | 2017, 52() | pp.377~413 | number of Cited : 2
    This study has a purpose of verifying Vanitas allegories utilized by contemporary photographers and variations of the exemplifications. This examines the traditional style and allegorical methodology of Leiden and Dutch Vanitas paintings in the 17th century. Having given its priority to symbolism in the 19th century, Vanitas allegories resurged as an influential concept in contemporary visual art in and after the mid-20th century. The concept has expressed contemporary significance issues in works of contemporary visual artists: Gerhard Richter, Damien Hirst, Subodh Gupta, Kira Kim, Dami Yun, Byungho Lee, and Kyungah Ham. Works of Paulette Tavormina, Justin Reyes, Mat Collishaw, Ori Gersht, Laura Letinsky, David Lachapelle, Hyun –Mok Jung, Valérie Belin, Jae-Eun Choi, and Nigel Morris show the traditions of Vanitas paintings in various ways. Some focus on the photographic reproduction of Vanitas still-life paintings, some reinterpret the message of Vanitas still-life paintings in modern style, or others graft the concept of ‘Vanitas vanitatum’ on today's issues. Employment of Vanitas concept expands its way from still-life photos to portraits. The resurgence of the concept of Vanitas paintings results from the similarity of social phenomena in these days of 21st century to those of Europe in 17th century. The concept and format of Vanitas paintings are still valid to dealing with psychological uneasiness and value confusion of moderns, who are increasingly isolated in the world of materialism. However, this study indicates that the limit of incomplete resurgence of Vanitas paintings appears with many of photographers above who overuse conventional icons of Vanitas allegories. It is necessary that the photographers who utilize Vanitas concepts overcome this limit and suggest original meaning and methods.