Diese Studie untersucht die experimentelle Ästhetik von Gustav Fechner, unter welchen Umständen sich diese Ästhetik entwickelt hat und wie es sich mit der traditionellen Ästhetik verhält. Außerdem wird Fechners Einfluss auf die moderne experimentelle Ästhetik untersucht. Gustav Theodor Fechner(1801-1887) ist uns als Physiker und Psychologe bekannt, und seine Leistung ist in den psychophysischen Gesetzen anerkannt worden. Aber man verkannte ihn, den Ästhetiker. Fechner unterschied nicht in der methodologischen Stringenz zwischen Naturwissenschaft und Philosophie. Seine philosophischen Verallgemeinerungen und kosmologischen Visionen wurden zur Quelle der empirischen Daten. Fechner war überzeugt, dass aller Materie ein geistiges Prinzip innewohne und die Natur mit Bewusstsein begabt sei. Sein Streben, um das Verhältnis zwischen Materie und Seele zu beweisen, wurde zum Prinzip seiner Physik, Atomlehre und mathematischen Statistik und schließlich seiner Ästhetik. Fechner stellte eine Ästhetik‘ von unten’ wegen ihrer empirischen Methode der Ästhetik‘ von oben’, der philosophischen Ästhetik Schellings, Hegels und auch Kants gegenüber. Er sah in der traditionellen Ästhetik, dass der metaphysische Schönheitsbegriff wie das Absolute, das Göttliche und die göttliche Schöpfertätigkeit immer noch nicht den Grund erklärt, warum es einem gefällt. Fechner verzichtet deshalb, das objektive Wesen des Schönen begrifflich festzustellen. Er wolle sich vielmehr damit begnügen, die empirischen Bedingungen des unmittelbaren Gefallens nachzugehen. Fechner versuchte die psychologische Empfindung auf dem physikalischen Reiz zu messen und statistisch zu zeichnen. Für diese experimentelle Ästhetik brauchte Fechner seine psychophysischen Messmethoden. Nach Fechner ist die Psychophysik eine exakte Lehre von den Abhängigkeitsbeziehungen zwischen Leib und Seele, oder allgemeiner zwischen körperlicher und geistiger, physischer und psychischer Welt. Ironischerweise entstand die naturwissenschaftliche Methode die poetisch-phantasievolle mystische Weltdeutung von Fechner zu bestimmen. Fechners Ästhetik, die vom damaligen deutschen idealistischen Schönheitsbegriff abkehren wollte, kommt auf leichtere Weise zum Ziel, das Mystik und Wissenschaft: Die experimentelle Ästhetik von Gustav Fechner Kim, Sookyoung(Myungji University, Lecturer) Wesen der Schönheit zu erklären. Seine naturwissenschaftlichen Disziplinen wollten nicht das Geheimnis der Schönheit oder des Absoluten eliminieren oder reduzieren, sondern eher die traditionellen Werte von unten haltbar machen. Denn Fechner legt fest, dass das echt Schöne dem Guten unterliegt, sogar in höchster Instanz aus Gott abzuleiten ist. Fechners experimentelle Ästhetik bot trotz dem prekären Ansatz eine neue Ansicht von Ästhetik und bereitete einen Grund für die psychologische Ästhetik und die modernsten Trends wie die Kognitionswissenschaften und die physiologische Ästhetik.

This paper addresses the indeterminacy and uncertainty of a site-specific, religious meaning which has been believed to be inherent in the Rothko Chapel paintings. Commissioned by John and Dominique de Menil in 1964 for a Catholic university, the chapel was Rothko's last and most important project to realize his life-long aspiration for a contemplative, environmental, permanent installation of his work. Created for a specific site and framed in religious terms, the Rothko Chapel paintings have been normally understood to deliver or communicate their spiritual meaning in the specific architectural setting of the Catholic chapel. Although it was dedicated in 1971 as an ecumenical chapel freed from any denominational ties, religious interpretations closely related to, and enhanced by, structural analyses of the architecture have dominated art-historical studies of the Rothko Chapel. Reflecting critically on this normative approach to the chapel paintings and their site-specificity, which I call a unified “inner or internal” interpretation, I intend to cast light on what could be seen as“ external or prior” to the work, which would result in a more fragmented, ununified reading. More specifically, I explore exterior or prior factors on two levels, the traces of which are embedded in the chapel paintings: on the one hand, Rothko's New York studio as a matrix in which the paintings were conceived, executed, and completed as an ensemble, and on the other hand, the historical context of 1960's abstraction against which Rothko's monochromes and hard-edge black-figure canvases could signify and assert any meanings. I suggest these two readings from without as an alternative to structural readings from within, such as Sheldon Nodelman's in-depth formal analyses and structural interpretations of the installation program. My alternative readings would illuminate how, in the chapel paintings, multiple voices and traces of others coexist with the artist's singular voice and his own hands. All in all, instead of claiming any single primary meaning, I aim to deconstruct the boundaries between formalist and contextual readings of the Rothko Chapel, and contribute to expand the interpretive horizon of the chapel paintings' structure and meaning.

This paper examines the recent exhibitions that reflect feminist global issues initiated and discussed by feminist artists, critics and curators in the U.S. and Korea. While the feminist exhibitions such as <Global Feminisms> and <WACK!> maintain strong western feminist legacies by accepting women artists from other cultures who learn the western feminist idioms, Korean feminist exhibitions attempt to expand its discourse to the feminist artists in the neighboring countries in Asia while respecting Korean traditions and positions. In this new terrain, the emergence of Incheon Women Artists’ Biennale further complicates the meaning of feminist-initiated exhibitions. The biennale, initiated by local women artists untrained by feminism, gradually grows into a large-scale global event and challenges the current status quo of Korean artists who have been divided into feminists and non-feminists, regional artists and global artists, progressives and conservatives, and etc.

This essay attempts to trace the various implications of bodies which are made from the integration of human body with technologies in the contexts of art. I investigated the body transformations and mediation-effects from combinations of human body with chips, prostheses, surgical operations in artistic performances. The hyper-mediated bodies in this essay means the bodies that encounter with technology directly, are mediated, added, and metamorphosed or modified by technology, and are fascinated with technology, confirmed by medial diversity and mediation. Technology may be machines or not. Hypermediated body tends to stress not finished result but the process itself as the heterogeneous. It also has the postmodern deconstructive characteristics of body of deformation, fragmentation, inter-penetration, hybridization, and diversity. The notion of‘ hyper-mediation’ comes from Jay David Bolter and Richard Grusin’s Remediation, Understanding New Media(2000). I studied the real practices of integration of body and technology in art, not only ways of artistic expression but also the various meanings of the very point of integration. My standpoint on‘ Posthuman’ concept which we will meet inevitably in the near future, is neither negative or positive. I am just concerned with the reconstruction of bodies in art, and with the ways how artists accept and express these situations. There are delicate dialectical meanings in the point or edge where body and technology meet and contact. They arouse from the process of acknowledging of inter-construction, integration of human and technology. They also run parallel with theoretical methodologies from gender study, philosophy, literary criticism and visual culture, psychoanalysis and deconstruction, cyber-theory, biomedicine, and phenomenology etc. Through these means, they attend to the dialectics between subject and object, flesh(meat) and machine, metaphor and materiality, figuration and literality, inside and outside, internalization and externalization, body and technology, human and posthuman. These opposite elements are linked in the relations of mediation and transformation each other. The Hyper ― Mediated Bodies in the Age of New Media Jeon, Hyesook(Ewha Womans University, Assistant Professor) In this essay, I treated Australian artist Stelarc and French artist Orlan's hyper-mediated body performances. Their bodies are the modified and added constructions, and they have accepted the very liminality itself and the way of‘ becoming’ through cyborg-like encounter(human/machine) and surgical operations. They opened a new understanding of hyper-mediated bodies in the age of new media.

If the fine arts based on the European Existentialism after the Second World War had started saying‘ no’ about all that is humane, asked the meaning of ‘existence’ from the‘ no’, and expressed‘ essence and reality’ of human, the Korean fine arts accepted psychological responses about the absurd situations being the reality of the times of the 4․19 revolution and the 5․16 military coup in the 1960s after the Korean War as the universal dimension of the human spirit. The Korean artists started to accept Existentialism from the 1950s, which appeared actively in the early 1960s, and especially intellectual-oriented Existentialism was a representative of the times. In those days, younger generations gained their experience of the Korean War at first hand, and revealed political and social negation and challenge of all existing values with the oppressed mood. Their essential expressions began with the existential question and rebellious violence which were shared with the writers of younger generation who tried to correspond existential situation and consciousness of heated lives on their own art. If Europeans after the Second World War had found the answer about serious question like "Who Am I ?" in the form of Existentialism, the Koreans tried to find the answer about their own lives in absurd situation of the times after the Korean War. The Sculptures of Oh Jongwook also changed in the 1960s through his selfconsciousness of the social situation and war experience. The tragedy of the human death appearing remarkably among his sculptures was expressed as a part of the heated lives of the absurd social conditions in those days. His main style was iron-welding. Because of his sensitive response on the condition of the times, the works of molding expressing the death appeared in those of Choi Manlin, Ko Youngsoo, and Shin Sukpil. In Europe, the absurdity of the humanbeings in the sculptures of Germaine Richier and Ce'sar Baldacchini was symbols of pain, isolation and fear.

This paper is to examine Gerhard Richter’s“ Atlas” as an artistic symbol of the memory archive with the theme of aporia which is one of the characteristics of the modern art.“ The Atlas” which is composed of 800 huge tafels reflects Richter’s perspective where we can recognize his psychological and work’s source. It is obtained through examining 10,000 pictures, and is also a unique document that shows the life of the artist. The contents of“ the Atlas” have been added and expanded continuously, which make it said to be finished, but it still remains as a non-complete work. According to Derrida, the desire for an archive is an illness that reaches for the death and is a part of the desire of finding and possessing the beginning or origin of everything. Derrida realized through the archive fever in“ Moses and Monotheism”, Freud’s desire of possessing the beginning of everything. This fever is to be seen in situations where death is urged. Therefore, the archive fever is a journey towards the death. The desire to make an archive comes from the inquiry of repeating something, and according to Freud, this desire for repetition can be seen as going towards death. When Derrida was studying Freud’s“ Moses and Monotheism”, he did not overlook Freud’ s archive fever. This has a connection to Richter’s archive fever in“ the Atlas”, reflected in the war and ideology due to the repetitive compulsion of trauma. Derrida said that the reason for Richter examining the same theme repetitively was the archive fever and is at the same time a movement towards the death. Consequently, trauma exists through the archive, and the archive continues through the trial of finding the beginning. Nothing can stop this except the death and that is why death is to be found at the end of the journey. This paper examines Richter’s memory archive in the three directions. First, I illustrate the repetitive compulsion shown in“ the Atlas” and resulted from trauma in an aporaic way to concentrate only on the archive, and examine the aporaic narrative of the author. Second, I examine the various methods of different modern artists to express their “after death memory” when they overcame their trauma. Finally, I examine the aporaic method that is illustrated through the process of fusing and transforming photographs, which shows the objective truth with art. In other words, I examine the method that is exposed between the photographic truth and artistic creation.

Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. Since After dinner at Ornans in 1849 Courbet’ s subject had been drawn from the actual life or the living human experience, because he believed that art should reflect the realities in actual life. To represent the hero of today, Courbet used “colossal” dimension required of history painting which the Paris Salon esteemed as painter’s highest calling but rejected as unsuitable for a genre painting. And he employed a larger than life-size which is appropriate for a culture hero. He wanted to give everyday subjects the effect of a monumental history painting. This was to be a transgression of the academic principle. In 1855, Courbet submitted fourteen paintings for exhibition at the Universal Exposition. His monumental paintings, The Artist’s Studio and The Burial at Ornans which are his major works of Realism are not admitted to the Universal Exposition. So he decided to organize his own show called The Pavilion of Realism which was a temporary structure that he erected opposite to the Exposition Universe of 1855. In short, he challenged the rigid categories of the Academy not only in a series of his paintings but also in his actual life. The artist disregarded authority and convention of the academy. However, the trace of the academic tradition remains still in Courbet's painting. This means he was not immune from the Salon’s view. In this paper I examine the relation between Courbet and the Paris Salon, focusing on the composition and rhetoric of The Artist’s Studio . As I demonstrate, the composition of the picture relates to the academic history painting’s central composition, especially The Sabine Women of Jacques-Louis David. The Artist's Studio was called allegory by Courbet. Allegory is the principle rhetoric of the academic history painting. In 19th-century salon’s paintings, the purpose of allegory was the personification of an abstract concept. He was interested in the allegory as an indirect or veiled mode of expression rather than the allegorical personifications. He created his own realism simultaneously using the tradition and the difference. In The Artist’s Studio, Courbet's massed figures The Contradiction of Gustave Courbet: on The Painter’s Studio, A Real Allegory Summing up a Seven-Year Phase (1855) Lee, Jaeeun(Sungshin Women's University, Lecturer) locate theirs place in the academic composition and are to be the allegorical personification. The kind of contradiction was due to the Salon’s gaze that controled the mainstream art of 19th-century Paris.