At the beginning of 21st Century, human desire of communication is forwarding to the Cosmos The way of Communication is going to be not by simple methodology but by the complicated methodology with high technology. It will not be monologue communication but be interactive communication, that will make intelligence Infra, which could be able to communicate from the location of information is present to which is not present; and the multi-media which will be able to solve the technical problems of these communication; will be developed continually. In the genre of plastic art, there are no exception in these changedness. More developed and proceed to develope intermedia could be able of intercommunication. The more development of technology could be able to the more development of new plastic art. Furthermore the development of science make the genre of art to be changed. There are no exception of this changedness in any part of society, The art always has been guided by the person who has proceeding idea for new value. The 21st century plastic art will be in the procedure of the intercommunication. Human-being's concern is to communicate with Universe, and that will be multi-dimension$(4{\cdot}5{\cdot}6{\cdot}7{\cdots}dimension)$ communication beyond our usual recognition. To conjoin this, the possibility of cyber space expressing is going to be considered, and the way is being done by the development of the Media Art, which is able to go and back to the cyber-space. And the message will be so complicate beyond our recognition. Because we will need to communicate with various newly-built vocabulary, so we need to magnify the repertories of new vocabulary.

Dans les arts modernes, nous ressentons souvent un $probl\`{e}me$ $disloqu\'{e}par$ rapport aux humains. Ceci ne viendrait-il pas $peut-\^{e}tre$ do notre $pens\'{e}e$ dans l' $\'{e}change$ culturelle entre le monde et nous qui s' appuie trop une $temporalit\'{e}$ et logique? Cette $the\`{s}e$ approche ce $probl\`{e}me$ $\`{a}$ travers one perception anthropologique do monde, en $\'{e}tudiant$ les arts tridimensionnels avec ses $\'{e}schelles$ qui deviennes plus on plus agrandis. Maurice Merleau-Ponty, dans son livre 'la $ph\'{e}nom\'{e}nologie$ de la perception', bien $r\'{e}sumait$ une $intersubjectivit\'{e}$ entre l' espace et nous. Selon lui, l' homme prend conscience do la forme des objets avec son environnement parce quil est un corps on interaction avec eux. Donc nous $r\'{e}f\'{e}rons$ ce livre pour notre set. Et on essayera ici d' $\'{e}tudier$ le travail do Constantin Brancusi, de Alberto Giacometti, do Richard Serra et do quelques d' autres travaux d' artistes L' oeuvre do Brancusi 'la Colonne sans fin', la taille plus de 29 m, produit one impression sur le spectateur relativement $\grave{a}$ la forme continue et $r\'{e}p\'{e}t\'{e}e$ $\`{a}$ linfini de $mani\'{e}re$ unifome. La pratique de Giacometti qui tenait compte do son envergure et de la longueur do son corps ainsi que do distance et de la mesure do sos bras, Il $d\'{e}formait$ aussi les silhouettes et transformait les objects en les $\'{e}tirant$ dans la perspective. Rosalind Krauss parler $\`{a}$ loeuvre do Serra, dans son livre 'l' originalit de lavant-garde et sutres mythes modernistes' (pp. 319-333), le spectateur est toujours on mouvement on liaison entre l' horizon do corps et celui do monde. Cette $transitivit\'{e}$ abstraite $r\'{e}ciproque$ entre le regardeur et le $regard\'{e}$, qui est comme le sujet de nombreuses oeuvres do Serra. Cependant le Maximalisme est $\`{a}$ l' origine Minimalisme qui s' $\'{e}tend$ dans ses efforts $th\'{e}oriques$ jusqu' au l' espace architecturale. Ces sculptures do grandes dimensions so situent autour de $b\^{a}timent$ ou dans lespace environnementale, comme ils sent l' architecture et le paysage. On suppose ici, leurs concepts de l' espace $\'{e}largit$ $\`{a}$ celui d' architecture. La sculpture et l' architecture $r\'{e}ciproque$ l' espace tridimensionnel entre eux, mais selon l' argument do Herbert Read pour la distinction de ces deux arts originaux sont, deux saisies de l' espace, ici englobant, $l\`{a}$ $englob\'{e}$. On $\'{e}tudie$ dans co set de concept de l' espace et de l' $\'{e}chelle$ d' objet par rapport au corps humain.

This study is based on theoretical background about movements of visual communication highlighted in digital age. Such movements are variously expressed in animation with the advancement of media, and their expression has great effect on visual art. Artists' concern and endeavor about movement expression techniques have been continued by impressionism, expressionism, futurism, cubism closely related with the birth of movie from late 19th century to early 20th century. At that time, stationary 2D space in plane screen couldn't express movement or time directly. Later, artists and designers have attempted to approach illusions in pictures or 4 dimension and movements by 2D or 3D computer graphics. The visual image in present digital age is to see, to hear, to feel by timing, so it is necessary for the most efficient way of message communication. And then, it is the time to start new, scientific, and creative study about production techniques of animation and expression of movements, since domestic animation productions are rapidly changed from cell to digital. The aim of this study is to clarify the motive of movement by theoretical inquiry of animation. Various aspects of animation as synthetic art have been examined by mathematical, scientific, and philosophical viewpoint. The results will be useful to the expression of motions for maximization of emotional effect in animation production or basic data of virtual simulation about certain situation. Therefore, such study should be managed as multidisciplinary research in the rapidly changing visual culture paradigm. namely, animation includes much more imaginative & creative power than simple function or techniques, so it has to be recognized as special synthetic art(visual art) constructing an area, the formative art with philosophical viewpoint and scientific principles.

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.