The aim of this thesis is to study the meaning and transformation of the Hwanghan landscape established in China's Late Ming Dynasty and Early Qing Dynasty, and accepted by Jeonghui Kim in the late Chosun Dynasty, by taking on the meaning of Yi Pin, transcendence of the world, Shi Qi, Yi Pin, and Ni Zan painting style.
Ni Zan's landscape accepted by Kim Jeonghui refers to the Hwanghan landscape of Yi Pin that were established as an aesthetic concept in the late Ming and early Qing dynasties. It appeared with two different meanings. One is the place of exile that Kim Jeonghui and Cho Huiryong were related to. The other has to do with returning home like Heo Ryeon. The former contained a negative aspect in that reality and the ideal were opposed in exile, while the latter, in harmony with reality and ideals, was expressed with a calm and stable scenery and writing method.
This paper focuses on how visual elements such as traditional materials and images are reinterpreted in a contemporary way, not abstract concepts such as traditional spirit or ideologies. The painters use partial images in traditional culture as a subject for expressing their narrative. These images were removed from their original context and newly combined. In addition, they use not only the subject matter, but also the composition of a picture used in traditional painting. By substituting contemporary elements in these compositions, they naturally mix modern and traditional. Finally, various traditional coloring techniques are used to convey modern messages depending on the type of pigment or base material, such as paper or silk. Following any technique does not connect the vein of tradition. Rather, traditional techniques serve as an important means of conveying a message. This contemporary transformation of tradition is mainly the result of a mixture of various elements such as Korean culture, current society, and fine art. In this regard, contemporary Korean color paintings are meaningful in that they can show the value of Korean culture in the present society, rather than reviving tradition.
This study researches the concept of life in Hegel’s writings considering the cognitive function of art that he emphasized in relation to life. Hegel defined life as love, object of self-conscious desire, pure idea, other-idea, and idea of beauty. Among these, the most important meaning of life for Hegel was living things, especially the idea of spiritual life, which is constantly dividing and uniting at same time. In fact, the idea of spiritual life is within living things. According to Hegel, the idea can be true only when it is embodied and must appear to us. He thought this idea can be given shape through the beauty of art and recognized by intuitive artistic consciousness. Therefore, the significance of this research lies in newly contemplating Hegel’s definition of art and beauty of art from the perspective of life and reexamining the cognitive function of art, which enables us to intuit the meaning and structure of life in the present day.
This paper focuses on the fact that Whitehead's speculative metaphysics in itself can be determined as an aesthetic ontology, and explores under what conditions and arguments this can be possible. Whitehead regards the aesthetic as the ultimate fact and purpose of becoming entities. Therefore, the description and analysis of the creation and the core concepts for this are organized around aesthetic purpose and categories. Whitehead's philosophy can be defined as a kind of an analysis of aesthetic experience in that it is an analysis of the becoming process of entities. Thus, reading his philosophy as an aesthetic description narrative provides important insights into aesthetic matters.
In this paper, by analyzing the nine categoreal obligations presented in Process and Reality from an aesthetic point of view, it is shown that the process of creation can be defined as a process of aesthetic synthesis. Furthermore, based on the premise that aesthetics deals with not only the sensuous, but also the emotional aspects of experience, by showing that the entire process of creation that Whitehead philosophically analyzes is actually dominated by emotional subjective forms, his philosophy is confirmed to be aesthetic. Finally, by applying Whitehead's philosophy to the problem of the characterization of aesthetic experience, aesthetic experience is characterized from an ontological perspective.
This paper critically examines the meaning of blank canvas in relation to the context of contemporary painting practice. Blank canvas has repeatedly appeared since the birth of painting. It was considered an expression of potential in ideal aesthetics and also as an ideal artistic form in the history of art that values artistic conception rather than formative acts. However, invisible art is a paradox, and the blank canvas is related to the self-destruction of art. In the crisis of art, modern artists who paid attention to the meaning of blank canvas as a medium of painting delayed the end of art with its reflective question. For them, the blank canvas is a metapicture and becomes a potential image. Paintings that were oriented toward the metaphysical world now return to the plane of immanence. The invisible image appears as a symptom on the blank canvas, and art survives in the form of nothing.
Artificial Intelligence (AI), the leading element of the 4thindustrial revolution, has made inroads into the art world as deep learning broadened the influence of robotics and machinery in a field generally reserved for human creativity. Art in the 21st century has already entered a new phase of existence with AI being successfully implemented in image synthesis. Similar to how fine-art photography was born via technological advancements never seen prior to 1827, which is a good example of how constant evolutionshaped modern art as we know now, AI has expanded the confines of today’s art through various techniques in image synthesis. And by doing so, AI has emerged as atool of artistic expression, inspiring a new form of art to the general public.
As such, I will examine the merit of AI as a tool of artistic expression, as well as the effective utilization of AI in different aspects of society. To do so, I will research the various types of paintings developed with AI, and discuss the creation of artistic algorism provided by collaboration between man and machine.
There is a seemingly contradictory point in Kittler's argument for human perception and the body. On the one hand, he refers to the irrelevance of perception and exclusion of the body due to the development of media technology, and on the other hand, to the difference in recording systems centered on changes in the experience of perception, indicating that the human perceptual domain lies in the basis of understanding media technology. These contradictory points can be summarized by the following questions. Does digital technology exclude and overwhelm human perception, or extend the realm of its experience? In this study, it is assumed that the answer can be found in the change in M. Hansen's interpretation of the media theory of Kittler, and this study analyzed the content and meaning of Hanson's advocacy of Kittler's perception theory. It is revealed that Kittler was talking about “the unbiased homogeneity of humans and machines” and “indirect interaction of humans and machines.” It was also argued that this could mean two things about Kittler's perception theory. First, the interaction between work and audience in digital art becomes important, and the audience acting as a “framer” for digital images can be seen as an artistic metaphor and expression of the current technological media environment. Second, Kittler's post-humanitarian understanding of humans can be extended to cognitive discussions such as that of Andy Clark, who said that humans are being built continuously in constant interaction with the media environment.