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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This research explores a critical range of eco-senstive aesthetic practice. What is the relationship between art and ecology? Do art historians, art critics or artists ought to be intervening in the ecological issues? How can they interfere in this issue? With these questions in mind I look into several examples of eco-art projects and find out some radical changes in premise of aesthetic paradigm in artistic practice. I hope I could cogently contend that aesthetics can offer an excellent basis for ecological ethics as it have been paved the way for environmental ethics.
In chapter two, I investigate three established theories on ecology since 1960s: deep ecology, social ecology, and eco-feminism. With the theoretical understandings of the current issues, I refer to the ways in which John Ruskin’s writings contributed to the expansion of aesthetic attitude toward the larger socio-ecological issues in chapter three. Chapter four is organized around four ecological art projects: Alan Sonfist’s <Time Landscape :1965~1978~ >, Beth Carruthers’ <Songbird Project: 1996-2002>, Dirk Fleischmann’s <Myforestfarm: 2008~ >, and Jennifer Allora &Guillermo Calzadilla’s <Under Discussion, 2005>. In chapter 5, I shed critical light on the methodology in which recent eco-sensitive art projects transcends the traditional premise of object based, visually-centered art form.
Ecologist tends to take holism; We are living in an interconnected universe. We may be reduced to ‘selfish gene,’ yet we are beings who can ask who we are, where we are living. Nature and Human Being are neither one nor two. We don’t have to regard the relationship between Nature and Culture from the separatist’s perspective. Nature is not a ‘pure’ space that have to be protected from Culture but a sphere which is under endless negotiation.
Post-media art tends to be something of conversation beyond object matter. It appears and disappears, be inscribed and erased, ask questions and give critiques, make traces in mind. Arts launch a certain community in which the members share the common limit of existence. The real media in the eco-art is “mind”. This mind as disinterested interest is fundamentally aesthetical.
In chapter two, I investigate three established theories on ecology since 1960s: deep ecology, social ecology, and eco-feminism. With the theoretical understandings of the current issues, I refer to the ways in which John Ruskin’s writings contributed to the expansion of aesthetic attitude toward the larger socio-ecological issues in chapter three. Chapter four is organized around four ecological art projects: Alan Sonfist’s <Time Landscape :1965~1978~ >, Beth Carruthers’ <Songbird Project: 1996-2002>, Dirk Fleischmann’s <Myforestfarm: 2008~ >, and Jennifer Allora &Guillermo Calzadilla’s <Under Discussion, 2005>. In chapter 5, I shed critical light on the methodology in which recent eco-sensitive art projects transcends the traditional premise of object based, visually-centered art form.
Ecologist tends to take holism; We are living in an interconnected universe. We may be reduced to ‘selfish gene,’ yet we are beings who can ask who we are, where we are living. Nature and Human Being are neither one nor two. We don’t have to regard the relationship between Nature and Culture from the separatist’s perspective. Nature is not a ‘pure’ space that have to be protected from Culture but a sphere which is under endless negotiation.
Post-media art tends to be something of conversation beyond object matter. It appears and disappears, be inscribed and erased, ask questions and give critiques, make traces in mind. Arts launch a certain community in which the members share the common limit of existence. The real media in the eco-art is “mind”. This mind as disinterested interest is fundamentally aesthetical.
목차
Ⅰ. 아름다운 푸른 구슬
Ⅱ. 생태주의란 무엇인가
Ⅲ. 생태윤리에 입각한 미학의 가능성
Ⅳ. 생태미술의 몇가지 사례들
Ⅴ. 파노프스키를 넘어서
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-609-003348787