오늘날 노인들은 점점 교육 및 경제 수준이 향상되면서 기본적인 요구인 의․식․주의 해결에만 머물지 않고 노년기를 보람되게 보내기 위한 다양한 요구를 드러내고 있다. 연령이나 고육수준에 상관없이 누구나 쉽게 이용할 수 있는 노 인의 미술치료를 위한 게임 디자인 연구를 통해서 고려해야 할 사항을 5가지로 제안하였으며, 노인이 선호하는 디자 인과 색상을 고려하여 3가지 원칙을 적용한 게임 디자인을 제시하였다. 노인이 이런 과정을 꾸준하게 반복해서 작품 의 완성도를 높인다면 스스로 성취감과 자신감을 얻을 수 있고 더 나아가 노인에 사회참여 기회의 장이 마련될 것이 다.

이 논문에서는 공연이벤트 특성의 스폰서십갈등관리전략의 연구자별 연구를 통하여 각 개념을 정립한 후, 공연이벤트 스폰서십갈등관리 요인과 영향에 대하여 연구하였다. 결과를 요약해보면 통계분석을 실시한 결과 선행연구를 토대로 설정한 가설은 공연이벤트특성은 스폰서십갈등관리전략에 유의한 영향을 미치는 것으로 나타났으며,스폰서십 갈등요인으로 설정된 이벤트, 재정적 지원, 목표달성, 사업적 관계, 커뮤니케이션, 마케팅서비스의 특성은 또한 영향을 미치는 것으로 판단된다. 인구통계학적 특성에 따른 공연이벤트, 스폰서십갈등관리 특성에 대한 타당성 검증의 최종문항 선택은 요인적재량이 0.5이상인 경우를 기준으로 하였다. 신뢰도 검증은 공연이벤트 특성에 대한 공통요인들의 크론바하의 알파 값은 0.7285 0.8574로서 대체로 양호한 결과를 얻었다. 또한 연구모형에서 종속변수인 정서적 이미지에 대한 크론바하의 알파 값도 0.9524 0.9180으로 매우 우수한 신뢰도를 나타내었다. 결과변수인 공연이벤트 스폰서십에 대한 관계성과의 크론바하의 알파 값은 0.8677 0.8795로서 매우 좋은 결과를 보이므로, 본 연구모형을 통해 잠재적인 요인구조를 설명할 문항들은 전반적으로 신뢰도가 양호한 것으로 판단되었다. 본 연구가 다루고 있는 공연이벤트(공연기획) 예술경영학문은 아직 초기의 단계의 단계에 있으므로 학문적 완성도가 높지 않다는 것이 지적되며, 본 연구 결과가 많은 시사점을 도출했음에도 불구하고, 공연이벤트의 스폰서십갈등관리전략에 관한 연구는 논제가 복합적 구성요소를 가지고 있어 각각의 정의가 광범위하다보니 연구의 한계를 갖는다. 따라서 기존의 공연이벤트와 스폰서십의 관계성과에서 초점이 맞추어진 신뢰, 몰입의 요소를 포괄적으로 접근하는 측정요소를 보다 구체적이고 명확화하게 할 필요가 제기된다. 공연이벤트 스폰서십의 관계성과에 대한 스폰서와 피 스폰서의 인식 차이에서 발생하는 요인들의 개발이 선행되어야 하며, 공연이벤트 스폰서십을 통해 발생하는 스폰서의 심리적 변인과 실체적 결과에 대한 명확한 측정요소의 개발이 향후에 진행되어야 할 것으로 사료된다. 이러한 연구의 한계점을 극복하는 후속연구가 활발히 이루어져 본 논문과 관련된 다양한 이론과 성과를 이루기를 기대한다.

This article discusses a consistent blend of autobiographical retrospection, metaphysical speculations, the passion of an old man raging against the approaching night. Many of these are similar to those in his earlier works, but art cannot be enlivened until it is kept in touch with “the foul rag-and-bone shop of the heart” as in “The Circus Animals’ Desertion.” In “High Talk,” Yeats resorts to the determination of the artist in a degenerate world. Using a circus metaphor, he demands the artist put on high stilts so he may catch the eye of the audience. He needs the stilts, now being incapable of the brilliant fantasy of past youth. The poet is Malachi Stilt-Jack, the maker of metaphors in art, but the walker upon stilts, though an eye-catching figure, is an absurd posturing creature in his “timber-toes.” The image of “its rag and bone” in “An Acre of Grass” is connected to the image of “old bones, old rags” in “The Circus Animals’ Desertion.” It is a recurrent theme of old age in Last Poems. Much of what has been noble and great is gone; what remains is raging of the flesh. Only memories of the past remain to the old man, physically exhausted. “An Acre of Grass” looks back on the major poetic themes in Yeats’s later life.

This paper discusses perfectionist writers W. B. Yeats and James Joyce. To compare how they worked slowly and creatively toward completing a work, I take two works by Yeats and Joyce, two of their best works. Yeats tends to work on his poems and plays continuously, even after they have been published. This paper looks at the rewriting of “Leda and the Swan” in several different stages, in order to see how the poem gather intensity and art, as an exemplification of what he did as a literary artist. Yeats’s attitude toward art and his literary style can be compared to the traits of art, and his literary style can be compared to that of the young artist depicted in A Portrait. In fact the young artist Stephen can be seen as Joyce the artist, and the paper discusses Stephen who grows linguistically and artistically competent. Yeats and Joyce are not merely Romantic writers; they were determined to develop new art and bring it to the highest perfection. And indeed they have achieved it in their works respectively.

인공생명 연구는 인공생명을 이용한 예술과 게임에 발전에 영향을 주었다. 인공생명 예술은 관람자의 상호작용을 바탕으로 이루어 져있으며, 인간의 관심이 게임에까지 미치게 되고 게임에서 최초로 수학 규칙을 이용한 The Game of Life과 사이버 펫, 아바타 및 최근 들어 타이쿤 게임(tycoon game)의 개발로 인해 게이머는 창조자의 경험과 공급자의 경험을 할 수 있는 게임이 발달 되었다. 또 이러한 인공생명 성장 임무 게임은 단순하지만 게이머의 관심을 몰입시킨 다. 본 연구는 인공생명의 탄생배경과 상호작용을 알아보고 인공생명 아트의 사례와 인공생명게임의 사례를 살펴보고 분석한다.

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the ‘Rhizome’ which Gilles Deleuze(1925~1995) and Félix Guattari(1930~1992) have discussed. In their argument, ‘Rhizome’ is an interval or being ‘between’, which keeps changing. ‘Rhizome’ is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like ‘Rhizome’, this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the ‘floating work of art’ combined and condensed with the whole participators' reactions. The ‘floating work of art’ is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano’s human rights and as a tool to recover the Chicano people’s cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca’s works, and the Balmy Alley Mural Environment project in San Francisco’s Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more ‘heroic’ ‘Star-Subject’ than before by dismantling the modern ‘Hero-Subject’. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness ‘self-confinement’ and ‘lasting absence of exit’ phenomena in postmodernism ideology and practice. We have to deal postmodernism as an ‘ideology which closes the discussion for the future’ in the context of ‘absence of way’ at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the ‘absence of prospection’ as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

This thesis started from the attempt to make it clear that 80’s American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring’s creative way at the field has more value than just being grasped as artist’s personal characteristics. Haring’s work pieces became everyday art by joining with people’s life, and are working as a social speaking place. So I think that these Haring’s art works possess characteristics of ‘the public sphere.’ ‘The Public Sphere’ means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without ‘disguise’ or ‘fabrication’, and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring’s work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring’s works and process. Haring’s works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he’s been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring’s works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring’s works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

본 논문의 목적은 예술 단체가 관객개발 프로그램 및 홍보마케팅전략 방안을 제시하여 이를 통한 공연의 활성화와 예술단체의 새로운 예술교육을 통한 마케팅 기법을 도입하고 적용하여 공연활성화를 꾀하고 문화예술 기관의 가치 증대를 추구하는데 연구의 목적과 그 의의가 있다. 예술교육이야 말로 잠재관객을 유인하고 그들의 참여 빈도를 높이는 유용한 수단으로서 사용되어져 왔다. 설문을 통한 분석으로 예술교육이 관객개발에 미치는 영향을 제시하였다. 그리하여 많은 예술기관 및 단체에서 적용할 수 있는 방안을 담음과 같이 정리해 보았다. 첫째, 수준별 연령별 에 맞는 교육프로그램이 더욱더 세분화 전문화 되어야 한다. 모든 사람에게 같은 내용과 양을 교육하는 우리나라 학교교육의 변화가 일어나야 한다. 초 중 고 교과 과정에서도 선택을 할 수 있어, 자기에 맞는 교육프로그램을 선택하여 흥미와 관심을 끌 수 있는 교육프로그램의 필요가 정책적으로 나타내져야 한다. 둘째, 지역 예술단 및 예술센터와의 연계성이 필요하다. 초 중 고 학생들의 방과 후 교육에 지역예술단체 와 예술센터의 지원이 필요하다. 방과 후 학교지원, 정규교육과정의 체험학습 지원, 교사들의 재교육 등을 통하여 항상 새롭고 지루하지 않은 교육환경 유지의 지원이 필요하다. 셋째, 파트너십 구축 이다. 기존의 예술단체의 이미지는 예술 하는 사람들의 집합체, 자기들만의 세상 이라는 부정적인 이미지를 가지고 있는 것이 사실이다. 이는 비예술인들이 공연장을 찾는데 많은 어려움을 느끼게끔 하였다. 공연단체가 소속 지역과 동일하다는 느낌을 줄 수 있는 마케팅 프로그램을 개발하여야 하여야하며, 찾아가는 음악회, 지역 행사의 지원, 지역민들과 예술단체와의 만남의 시간 등 예술단체와 지역민들이 동질성을 느낄 수 있는 노력이 필요하다. 우리 예술기관이 항구적인 관객지원기반을 구축하기 위한 예술학교 교육 도입하기 위해서는 우선 예술기관의 예술적, 경영적 기반의 전문적인 운영체제를 갖추고 분명한 사명(mission)을 규정하는 것에서부터 프로그램 마케팅의 전문화를 주문하였다. 그런 다음 예술교육의 철학과 목표 그리고 이를 실현하기 위한 중장기 전략과 구체적인 추진계획을 세울 것을 제시하고, 장기적인 관개개발과 확대, 유지의 차치원에서 다양하고도 효과적인 예술교육 프로그램의 도입은 물론 교육받은 이들이 항구적으로 예술기관의 지원자가 될 수 있다. 예술교육은 특정한 예술기관만의 역할을 넘어서는 외부성이 있으므로 국가정책의 배려와 지원이 필요하다.

Carbon nanotubes, consisting of rolled graphene layer built from sp2 units, have attracted the imagination of scientists as ideal macromolecules and their unusual physical and chemical properties make them useful in the fabrication of nanocomposites, nano-electronic devices and sensors etc. In this account, the current status and prospect of carbon nanotubes is described with a special emphasis on the safety issue of carbon nanotubes. Even though many challenges to be solved remain, extensive and intensive efforts in both academy and industry will clear out those problems soon and finally enable carbon nanotubes to play a key innovative material of 21st century in numerous industrial processes.

본 연구는 인터랙티브 미디어아트와 컴퓨터 게임의 특성을 살펴보고 비디오아트 작가 빌 비올라의 실험 게임 ‘The Night Journey’의 예술성과 게임으로서 갖는 의의에 대해 다루었다. 실험 게임 ‘The Night Journey’에 대한 게이머들의 반응은 대체로 긍정적이었지만, 한편으로 지루하고 게임의 흥미 요소를 만족시키지 못했기 때문에 게임으로 보기 어렵다는 반응도 적지 않았다. 또한 상업성이 부족하고 예술성을 강조하여 게임의 중요한 요소인 엔터테인먼트적 성격이 부족하다는 실험 게임의 한계점 또한 갖고 있다. 그러나 게임의 발전을 위해서는 예술 작품과의 비교와 함께 타 매체와의 융합 시도 등 다양한 실험이 필요함은 부정할 수 없다. 게임에 있어서는 상호작용성과 더불어 심미성이 필요하고, 인터랙티브 미디어아트 작품에는 게임 고유의 특성인 유희성과 몰입성을 가미하는 새로운 시도들이 이루어진다면, 두 매체의 성공적인 경계 확장과 발전에 큰 의의가 있으리라고 본다.

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of ‘resistance paintings(against dictatorship)’, ‘proletarian painting’, ‘realism painting’. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when ‘ National Arts Association’ started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; ‘Reality and Speak’(R&S), ‘KwangJu Art Association’, ‘Durung’, ‘Dang(Land)’, and ‘Local Youth Students Association’. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as ‘ONE’ combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's ｢Hyunsil Dong In the first declaration｣ and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in ‘generation theory’, ‘organization theory’, and ‘popularization theory’ by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed ‘Dismentlement of Capitalism’ and ‘Public revolution’. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

Nous obserbons dans le champs de l’art aujourd’hui, le changement radicalprovoquant étant donné que le pouvoir du marché de l’art s’augmente de plus en plus. C’est pour cela que le champ du discours de l’art n’est actuellement plus formé par desnotions esthètiques artistiques, mais par celles qui sont réservées au domaine de l’économie et du marché. Il n’est plus significatif de croire la valeur esthètique de l’oeuvred’art, puisque l’esthètique elle-même ne fonctionne plus. Par contre, le système de donnerle prix à l’oeuvre d’art fonctionne rigoureusement. En plus, cette situation s’aggrave étantdonné que la mondialisation du marché de l’art s’installe avec rapidité. Malgré lamondialisation de l’art, des gens qui habitent par exemple à Séoul ne peuvent pas s’approcher facilement de ce qui se passe à New York, le vrai centre de l’art contemporain.Dans cette situation, le champ de discours de l’art n’a pas d’autre solution de se rétrécirremaquablement et le sujet de discussion sur le grand art est remplacé par celui du successde l’art. Cette recherche est arrivée à remarquer que le système du foire internationale de l’art fonctionne comme une locomotive dans le marché de l’art qui est le vrai dominateur del’art contemporain. Aujourd’hui les grands clients du monde de l’art et les jeunesspéctateurs, les clients de l’avenir s’assemblent autour de quelques foires internationalesréputés qui ont de l’autorité. C’est ainsi que l’achat et la vante de l’oeuvres d’art estsuffisamment mondialisé et que le système local du marché est dérangé et s’éffondrégravement.Malgré la différence significative, la majorité des galeries d’art lacaux s’oblige desuivre à la suite du style du foire internationale de l’art. C’est la raison pour laquelle quecette recherche se fait une idée nette que la prospérité actuelle du marché de l’art n’est quela situation économique ou financière. A ce stade de la réflexion, cette recherche arrivera à poser une question primordialeci-dessous: “Si l’art qu’on à l’intention de proclamer ne serai plus possible de faire réfléchirsur la liberté et la solidarité humain, la dignité de l’homme, cet art n’est plus autre choseque l’insignifiance. Au lieu de parcourir divers phénomène du marché de l’art aujourd’hui, cetterecherche fixera son attention sur la réalité du foire internationales de l’art. Dans cecontext, cette recherche sera composée par trois chapitres donc le première essayera derépondre á la question de son influence extraodinairement puissante. Le deuxième chapitreessayera d’analiser la réalité et la source du pouvoir du foire internationale de l’art. Nousessayeront au troisième chapitre de configurer le point de vue critique qui permettra debien comprendre notre sujet.

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of ‘avant-garde’ visual art, which is explained as formal ‘purity’ and ‘abstraction’ as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of ‘avant-garde’ architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the ‘Universal Philosophy’ including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on ‘from Being into Becoming’.