• Journal of the Korean Institute of Landscape Architecture
• /
• v.51 no.2
• /
• pp.94-102
• /
• 2023

The Florence Charter, established in 1981 by the ICOMOS-IFLA International Commission on Historic Gardens, considered the historic garden as a plant-dominated architectural composition, a perpetual balance between the artist and the artisan's desire to remain unaltered in perpetuity. Trees, the main component of the garden, require continuous management as they repeat their creation and calling according to the cycle of the seasons and accordingly, it is suggested that management to maintain the appearance of trees in Korean palaces was an indispensable element. Although it is an important matter to historically verify the tree management techniques of the palaces of the past, research has been difficult due to the absence of historical records and the disconnection of life due to the Japanese colonial period. In addition, according to the view that trees were not generally managed in the palace, research on palace tree management techniques has not been conducted so far. Therefore, this study aimed to examine whether or not the tree management of the palaces was performed in the past through expert interviews based on photographs taken in modern times. With the identification of tree species and pruning through in-depth interviews with experts using photographs taken in the modern period, the results are as follows. First, it was found that the shapes of trees and leaves could be identified through photographs and by observing the phenomena caused by planting and pruning, it was possible to estimate whether or not the tree management was implemented in the modern palace. Second, as a result of in-depth interviews with 8 experts in 4 fields, it was possible to determine the tree species and pruning status, purpose, and method. There was no significant difference in opinions between groups, and the evidence was clearly presented. Third, the type of management of trees in the palace was mainly found to be determination of the types of tree, removal of hazardous factors of trees, and management of lower vegetation and through the photographs of Jondeokjeong and Gwanwanjeong, it was confirmed that the trees were managed even before the Japanese colonial era, considering the time of filming. Based on the photographs taken, it was possible to estimate whether the trees were managed before the Japanese colonial period through expert interviews. However, it could not be clarified due to lack of historical materials as to whether it was carried out on its own according to the circumstances of the times or by the Japanese Empire. Still, in this study, evidence was obtained to refute the view that trees of the palace were not managed in the past through the collected data. Expert opinions supporting this view were collected to make the conclusion. In addition, based on the general theory of pruning, an empirical review of expert opinions was conducted to secure the reliability of the research results.

• Journal of Korean Philosophical Society
• /
• no.125
• /
• pp.63-89
• /
• 2019

The aim of this paper is to examine the so-called theory of automatic action attributed to Plotinus, according to which the sage can act automatically without deliberation or reasoning. Concerns were raised that such a theory runs the risk of turning the agent into an automaton by reducing action to mechanical reflexes to external stimuli. I attempt to show that Plotinus does not hold a theory of automatic action by arguing that the Plotinian sage's non-deliberative action is not automatic at all. For this purpose, I first draw attention to the non-deliberative action of the World-Reason (i.e. the reason of the World-Soul), which is supposed to present an ideal model of action. Indeed, Plotinus mentions that the World-Reason rules the world "as if automatically". This is, however, meant to indicate the spontaneous and natural manner in which the World-Reason rules. In this respect, the way the World-Reason works is compared to the way nature (i.e. the productive power of the World-Soul) works. But Plotinus points out that the World-Reason knows what to do, whereas nature works without knowing. In this connection, Plotinus makes it clear that the World-Reason does not calculate or deliberate about what to do because it already knows it. To clarify this point, I turn to Plotinus' analogy of practical wisdom (phronêsis) and skill, according to which the World-Reason is compared to an accomplished craftsman or artist, who confidently works without any doubt, hesitation or difficulty, thereby expressing her intelligence, unmediated by deliberation. From this perspective, non-deliberative action according to practical wisdom turns out to be superior to deliberative action. Plotinus admits that there are difficult circumstances in which even the skilled craftsman, unlike the World-Reason who always controls the whole situation, needs to deliberate or calculate, but he is nevertheless confident that the craftsman easily finds the solution. This suggests that the sage, who possesses practical wisdom, can act normally like a great master or virtuoso without deliberation, but in an emergency situation he also employs deliberation, but resourcefully and creatively responds to challenge. The attempt is made to elucidate the Plotinian model of sage's action with the help of Csikzentmihalyi's concept of 'flow' and Annas' application of it to the analogy of virtue and skill. Finally, it is shown that the sage's virtuous action, in spite of being a habituated action, is not a passive, routinized, automatic action, but an active, flexible, intelligent action.

• Korean Association of Arts Management
• /
• no.50
• /
• pp.101-146
• /
• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.