일상 심미감각의 탈권력화를 위하여 = For the Disempowerment of Everyday Aesthetics

다국어 초록 (Multilingual Abstract)

Approaching to the question of “What is the relationship between Art and Society?” in a critical way, the approach itself inevitably falls into a dilemma; the question itself admits the unique characteristics and differences of the two opposite sides. However, I wonder if the boundaries are still sturdy in this so-called postmodern era. W.Welsch proposes the concept of “aesthetic process Aesthetisierungsprozess” as a keyword of post modern world where we are living in. The trend of aesthetics covers not only the art scene but the whole world of politics, economy, culture, and even the everyday life. In this post modern era, we are ‘homo aesiheucus’, borrowing W. Welsch’s word.
In this vortex of aesthetics, the artistic sense and sense of everyday life cannot be separated. Here, the power is not working through the material restraints or institutional apparatuses, but through the tools and manipulation of aesthetic senses. Therefore, critical approaching to the relationship of art and society should be done on the premise of the question on the ability of art to criticize the world or the critical introspection on the empowerment of sense of everyday aesthetics.
In this essay, talking of W. Welsch, W. Benjamin, and Th. Adorno, I would like to introduce the critical relationship between art and society dividing the paradigm of reflection into two, before and after the aesthetic transition. Then, I would like to suggest the neutral attitude or the aesthetic distance when we accept a certain object as a keyword of inspection. I will describe this with examples of two photographers, Andreas Gursky and Thoman Ruff.

목차 (Table of Contents)

• Ⅰ. 심미적 전환과 그 현상들
• Ⅱ. 심미화 비심화의 변증법
• Ⅲ. W.벤야민 vs Th. 아도르노
• Ⅳ. 일상 심미감각의 탈권력화를 위하여