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정혜진 한국문화공간건축학회 2019 한국문화공간건축학회논문집 Vol.- No.65
This study investigates the elements of airport architecture as a typical architectural type of supermodernity and discusses its meaning. Airport architecture, rather than a single structure or a group of structures, represents an enormous space that constitutes the flight process, evolving constantly to meet both a high level of functional rationality and aesthetic demands that reveal the distinct identity of the area and structure. Airport architecture is regarded as a place of “supermodernity” in the sense that its technical and mechanical rationality dominates. The resulting characteristic of “neutrality” can be architecturally represented by descriptions such as “a continuum of infrastructure”, “a vast and homogeneous space”, “transparency”, “a sense of drifting”, and “ageless surfaces”. In addition, the airport is a place of duality where globalism and localism coexist. Elements derived from functional rationality represent global universality, while flight and regional aesthetic expressions represent regional specificity. This place of supermodernity, the airport, accommodates the scale and complex program of a city in an abbreviated form, existing as a self-fulfilling independent entity and pseudo-city.
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고현정 한국무용교육학회 2022 韓國舞踊敎育學會誌 Vol.33 No.4
Place is one of the most important concepts of modern culture, philosophy, and anthropology. The governance structure by the expansion of contemporary space raises the question of cultural theorists to reconstruct the meaning of place's existential and cultural identity, emphasising the importance of place. The contemporaries have been organised in a number of and diversely separate places that meet different purposes and interests and require an organisation of passage and transportation connecting them. An anthropologist Agué, M. (2017) calls 'nonplace' that has no movement and permanence, and is defined by their connectivity to other places. In this study, the implications of place and space of dance are considered in non-place, a place with a paradoxical sense of ‘somewhere’ and ‘anywhere’ at the same time, where there are no clear features, and few reflect the environment of their unique area. Therefore, based on the concept of Augé, M.(2017), the purpose of this study is to expand the academic area of dance study based on the analysis of the functions and spaces of dance in non-places expanding in modern society by considering the relationship between the material characteristics and inner experience of dance. First, the concept of space and place is considered, and the relationship between space and place of arts is discussed to provide the validity of the research. Second, to examine the change of place in dance, the relationship between material dance and place is discussed in a shared place. Third, based on the concept of a place of supermodernity, for the discourse of dance space in non-place, the boundaries between non-place and place are analysed, and the implications of space in non-place are considered.
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Suh Young-Chul(서영철) 새한영어영문학회 2011 새한영어영문학 Vol.53 No.3
Cultural sensibilities beyond postmodernity have appeared in the constantly changing society. What, then, comes after postmodernism? Roughly since the year 2000, each post-postmodern theory has approached the issue beyond postmodernism with its unique perspective in its refutation of postmodernism. First, as seen from a semiotic/dialectic perspective, performatism and critical modernism are future-oriented, but still reminiscent of modernism. Second, hypermodernism and supermodernity present society and culture against postmodernism, toward modernity, in terms of excess. Third, digimodernism and automodernity have strong links with modernity produced by digital innovations. From the three categories of post-postmodern theories, a new modernity as the post-postmodern common factor is deduced. First, they reclaim certain modern tenets as seen from a semiotic/dialectic perspective. Second, post-postmodern theories are formulated in their adoption of cultural sensibilities produced by digital innovations. As a result of change, postmodernism as cultural concept has lasted only a shorter period. On the other hand, postmodernity will not disappear for several hundred years just as modernity still lives on under the postmodern circumstances. If so, who can offer any definite answer for what post-postmodernism is? Or should we wait more for a definite theory explaining what the current post-postmodernism is?
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Post-Postmodern Theories: A New Modernity
서영철 새한영어영문학회 2011 새한영어영문학 Vol.53 No.3
Cultural sensibilities beyond postmodernity have appeared in the constantly changing society. What, then, comes after postmodernism? Roughly since the year 2000, each post-postmodern theory has approached the issue beyond postmodernism with its unique perspective in its refutation of postmodernism. First, as seen from a semiotic/dialectic perspective, performatism and critical modernism are future-oriented, but still reminiscent of modernism. Second, hypermodernism and supermodernity present society and culture against postmodernism, toward modernity, in terms of excess. Third, digimodernism and automodernity have strong links with modernity produced by digital innovations. From the three categories of post-postmodern theories, a new modernity as the post-postmodern common factor is deduced. First, they reclaim certain modern tenets as seen from a semiotic/dialectic perspective. Second, post-postmodern theories are formulated in their adoption of cultural sensibilities produced by digital innovations. As a result of change, postmodernism as cultural concept has lasted only a shorter period. On the other hand, postmodernity will not disappear for several hundred years just as modernity still lives on under the postmodern circumstances. If so, who can offer any definite answer for what post-postmodernism is? Or should we wait more for a definite theory explaining what the current post-postmodernism is?
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크리스 마커의 영화 <환송대> 연구: 마르크 오제의 비장소 이론을 중심으로
김동윤,윤학로 한국예술교육학회 2023 예술교육연구 Vol.21 No.1
크리스 마커의 1962년 작품 <환송대>는 종말에 가까운 전쟁 후에 살아남은 인간들이 문명을 복구하기 위하여 시간 여행을 하는 이야기를 다루고 있다. 이 영화는 스틸 이미지의 조합으로 만들어졌다는 형식적인 특이점과 기억에 관련된 내용적인 측면에서 주목받는다. 본 논문에서는 영화의 주요 배경이 되는 공간의 의미와 주인공의 행동을 마르크 오제의 비장소 이론으로 비추어본다. 기존의 인류학적 장소에 대한 변화를 설명하는 비장소 이론에서는 대표적으로 공항이나 고속도로를 예로 들고 있으며, 이러한 공간은 기억이 제거되고 개인 간의 관계가 사라지는 장소들 즉, 목적이 되지 못하고 거쳐 가는 환승의 장소라고 설명된다. 마커의 영화에서 시작과 끝의 배경이 되는 공항은 주인공의 유년 시절 기억이 남아있는 장소이고, 시간 여행을 통해 도착한 공원에서의 주인공의 평범한 모습은 시간 여행자로서의 정체성이 상실되는 모습을 보인다. 다시 말하면 이 작품에서 공항이 유년시절의 기억을 이끌어내는 장소인 반면에, 공원은 주인공의 정체성이 사리지는 비장소로서의공간이다. 또한 마커의 매체에 대한 실험은 박물관의 박제된 동물의 모습에 반영되어 죽음을 통해서 영원히 존재 가능해지는 육체에 대한 앙드레 바쟁의 사진적 이미지의 존재론과 연결된다.
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김완주,이금희 복식문화학회 2008 服飾文化硏究 Vol.16 No.6
The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.
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