• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.71-80
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• 2017

Landscape design pursues a balance among different values in our society, but aesthetic value and ecological value in landscapes must bring complex relationships into harmony. Ecological aesthetics can be defined as a domain of study that manages the relationship between landscape ecology and landscape aesthetics to create aesthetically attractive and ecologically beneficial landscapes. Despite the importance of the research area, there has been limited empirical research addressing ecological aesthetics. This article aspires to connect and expand the conceptual framework to the research methodologies of ecological aesthetics. First, this study suggests a conceptual framework that examines the relationship between landscape and perceptual process in the context of ecological aesthetics. This framework stresses the importance of information and design intervention as moderators in this relationship. From this framework, three key topics in ecological aesthetics arise: (1) correlation between ecological integrity and aesthetic preference, (2) "compromised" design and management intervention principles that enhance aesthetic pleasure and still have biodiversity, and (3) the impact of information intervention in aesthetic experience. The framework indicated three domains affect each other; thus, when one domain is studied, the other two need to be considered. Secondly, several theoretical and empirical studies on ecological aesthetics will be reviewed from a methodological point of view. This will help to consider ecological aesthetics research, which has primarily been limited to theoretical discourse in empirical research.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.323-337
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• 2021

This study will attempt to analyze media art and discuss its main characteristics by using the concept based on Relational Aesthetics 'Affective Turn' as a basis of the theory. In addition, this study has some theoretical and practical implications, both in terms of the research and analysis of artworks and the structure development of art theories and aesthetics. To conduct the research, I have gone through a literature review on previous studies related to media art and Relational Aesthetics. Then, I have conducted a case study on the media art of TeamLab. This study shows that from the perspective of Relational Aesthetics, media art shows unique characteristics such as borderless and shareability. Moreover, it can allow the audience to actually 'feel' the relationship and integration between various objects. I hopethat this research could be used as a solid basis for future research and helpstrengthen the interaction between modern art and the public.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Journal of Korea Game Society
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• v.16 no.5
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• pp.131-148
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• 2016

The cultural status of the game is always compared with the various area of art, and this discussion is continuing from appearance of the game to the present. During the same period, the cultural influence of the game is gradually increased, but public awareness was significantly undervalued the artistic value of the game. So, the change in this evaluation is needed in order to constantly maintain a cultural influence and to provide a positive influence on our society. Therefore, it is required that the research to prove their aesthetic value in the viewpoint of the game. This paper explores the new aesthetic potential of the game through a discussion of various similarities and the relationship between games and art. We look at the views on the game from the artistic point of view through game art and art game. And it find out the aesthetic subject and value of game. Finally, the approach through features of the information aesthetics and the generative aesthetics helps your understanding of the game aesthetics.

• Archives of design research
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• v.17 no.2
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• pp.471-478
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• 2004

The recent aesthetical argument has been focusing on the interrelation between art and media. Now media is a kind of creative activity and dynamic factor which comprises aesthetic perception in itself compared to that of the past linear thingking era that was just a means of proving presence. Norbert Bolz, a leading media-aesthetician, puts the emphasis on the transformation of image, not the its dupe. He urges that this artistic form does not deliver the image of object, but means the objectless image itself. Therefore creativity is caused by an effect of a optional technic in the stage of technological environment where is under the control of the non-linear thingking system. In this context, this essay investigates to confirm the above mentioned aestheical views by analyzing the computer based layer as an detailed example, and to illuminate the designers creative activity where is deemed to be under its radical influence. Therefore it can be dedicated to the extension of the theoretical background in design, bridging between two practices accor ding to the Bolz's notion that the new aesthetical concept should be accompanied by ' the Design Science ', that is centered on the new media.

• (The)Study of the Eastern Classic
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• no.34
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• pp.339-362
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• 2009

If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2023.10a
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• pp.25-26
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• 2023

• Korean Architects
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• s.654
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• pp.28-33
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• 2023

자연과 건축의 관계를 탐닉해 온 아키텍트 마우리시오 페소(Mauricio Pezo)와 소피아 본 에릭사우센(Sofia bon Ellrichshausen), 그리고 안톤 가르시아 아브릴(Anton Garcia-Abril)이 한국을 찾았다. 서울도시건축비엔날레 참여, 메덩골 정원 내 건축물 진행 상황 확인, 홍익대학교 강연 등 바쁜 일정 속에서도 건축 미학과 작품에 대한 이야기를 나누는 시간을 가졌다.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.2
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• pp.38-48
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• 2012

Since the late 20th century, sustainability is one of the most pressing concerns for the security and well-being of our society when we are witnessing the rapid change in urban landscape patterns. Responding to this issue, the discipline of environmental designs including landscape architecture has also attempted to realize this concept in various ways. The purpose of this study lies in introducing and redefining the meaning of ecological aesthetics as an alternative "sustainable" design theory. This paper theoretically discusses about the role of aesthetics in landscape design and the relationship between landscape and aesthetics to emphasize the importance of ecological aesthetics. Based on extensive literature review and analysis, the study attempts to redefine the characteristics of ecological aesthetics: an emphasis on cognitive process in landscape appreciation, environmentalism, unrestricted from style, and nonnative aesthetics. Having defined the characteristics, this study also finds several design subjects to adapt the concept of ecological aesthetics to actual design practice. Founded on the big idea "make nature visible", the defined subjects are ecological functions, temporality of landscape, and history of landscape, security, and accessibility. Also, this study stresses the importance m the creativity of the design(er) in order to effectively represent these subjects to the public.

• Trans-
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• v.8
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• pp.29-53
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• 2020

This paper aims to study the aesthetics of ugliness in David Lynch's first film . First, as a background study, it examines the history of ugliness in the history of beauty and discusses the meaning of ugliness in an aesthetic sense. Furthermore, i will look at the aesthetic theory of Rosenkrantz's Aesthetic Theory, which has developed in-depth discussions about ugliness, and discusses similar or other aspects of opinion. Finally, to demonstrate the aesthetics of the application of ugliness in modern cinema, the specific sound of David Lynch's film is analyzed in detail and its relationship with images. Through this discussion, I would like to clarify the aesthetic meaning of ugliness as an aesthetic category in the field of film.