• The International Journal of Costume Culture
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• v.3 no.1
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• pp.21-29
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• 2000

The purpose of this study was to analyze the 21C Fashion's expression related to 'Verfremdung' theory, in aesthetic theories established after modern times, and then to examine a new meaning and value. The expressions of 'Verfremdung(estrangement)' in modern fashion, appear the followings: 1) placing distance with traditional sex and rational beauty of body. 2) paradox of inversion, 3) illogical juxtapositions by encounter. 4) dismantlement of material concept etc. After showing practically production technique that breaks traditional exception, that is, a new design method of open concept which drives positive idea about discrepancy of realities. This trial has warning abut art's self-control occurring at the time when aesthetic disinterestedness theory is expanded, and is considered indictment about a inhuman property of modern civilization and culture, and is considered expression of will to show alienation by it.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.61-81
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• 1998

This paper is to explore a new planning paradigm for urban landscape-not a new paradigm for urban landscape planning- in the light of environmental aesthetics. This is an endeavor to construct an alternative to the philosophical absence in the landscape profession. The landscape has been conceived of visual -oriented urban scene, and this notion is one of consequences of subject-object dualism in Western modernity project. In contrast with this convention, the authors consider urban landscape as the aesthetic field in which an experience of urban landscape actually works in human ordinary life and experience. To acquire an aestetic experience in this aesthetic field, we need to replace the doctrine of disinterestedness with engagement and contemplation with participation. This concept of participatory engagement with landscape can be translated in specific and concrete ways into urban landscape planning, replacing the traditional panoramic landscape with engaged landscape. The authors approach the urban landscape from the vantage point of an aesthetics of engagement by developing the four environmental situations : the sailing ship, the circus, the cathedral, and the sunset. They may serve as useful guides in cultivating and beautiful urban landscape to replace the forces of vulgarity and monotony that depress the modern city. What is beautiful urban landscape\ulcorner What makes the urban landscape beautiful\ulcorner Finally, the authors suggest identity and amenity as practical concepts of urban landscape planning for an aesthetic experience.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.25-42
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• 1996

During the last two and a half decades, philosophical interest in the aesthetics of nature and environment has been gained momentum. One of the most coherent theories in this arena of debate has been developed over a series of articles by Allen Carlson. The purpose of this paper is to examine Carlson's theory critically and suggest an alternative aspect that remains untouched by his model. Briefly stated, Carlson's view of the appreciation of nature is that it is a matter of under standing nature under suitable scientific categories. His argument, based on the objectivist epistemology, is basically a disjunctive syllogism : a) The concept of appreciation, derived from traditional disinterestedness and Stolnitz's aesthetic attitude, provides an insight into the explanation of aesthetic appreciation of nature, and is objectivistic in the light of its object-oriented character. b) Nature must be appreciated as nature itself, and the natural environmental model is the appropriate loci of our nature appreciation. c) The paradigmatic form of our nature appreciation is order appreciation. d) There can be a correct and objective aesthetic judgment of nature, and the sources of guiding categories pertinent to it is natural science and natural history. In regarding nature as an environment and as natural, his natural environmental model is meaningful. Nevertheless, his stance results in some serious problems : a) The natural environmental model excludes certain very common appreciative responses to nature-responses of a less intellective, more visceral sort. Therefore, the arousal model with appropriate emotions might be one of our characteristic forms of nature appreciation. b) Even if we consider the scientific knowledge as an objective source of our nature appreciation, this gives rise to the question of whether the natural science can be objective or not. Is there an objectivist aesthetic appreciation of nature\ Does aesthetic appreciation of nature need to be science-based\