ScholarWorks@숙명여자대학교

초록

I have been working with interest in the motility of nature. Observation of the natural motion led to reflection on what led to bringing the motion, and the result was the vitality of nature. The power of life creates and moves something in nature. I have confirmed that the power of life is 'difference and repetition.' I have developed on capturing principle of difference and repetition in the infinite dynamic movement of waves and clouds to make images. Most of the works compose a series of "Aura of Nature," which visualized the energy of nature as written in the title. The energy can be described as spirit(氣) and moral(道) in the eastern viewpoint; and as the difference in Deleuze's viewpoint. Therefore, this study aims to: focus on how the occurrence principle of difference and repetition affect natural phenomena, theoretically clarify it through the philosophy of moral and difference, and analyze how the principles of difference can be expressed as the aesthetic form, sublime, in the sensory viewpoint. Specifically, it explores how it relates to the principles of difference and repetition and the sublime aesthetic form in picturesque practice. From this viewpoint, my work sees that the principle of difference and repetition, the dimension of transcendental and intense sensibility are the foundation of all-natural phenomena. Also, it pursues how it can be visualized pictorially and expressed in any sensuous mechanism and formal structure. The moral or difference principle exists in a completely different form from the dimension of phenomenal appearance. They are different from the natural appearance that we consciously deal with; because they do not have a fixed shape nor are visible, it has a characteristic that is hard to know unless they felt special or reflected. Therefore, it is transcendental. The question is how the painting can reveal or convey this dimension to viewers. My work is the result of these pictorial studies on this. This study introduces two philosophies to examine the principle of natural occurrence from theoretical aspects. One is the Eastern moral thought, and the other is Deleuze's philosophy of difference and repetition. These two thoughts and philosophies agree that the foundation of nature and the world is 'difference,' although they were born in different eras and cultures. In other words, the difference is the source of all creations. In brief, 'difference and repetition,' the common point between Lao-tzu's moral and Deleuze's transcendental empiricism, is presented as the basis for the natural ontologic occurrence that I seek. The natural phenomena repeat differently at every time due to differences; they occur with different intensities at every moment at the same time. The principle of difference becomes an object of thought as it’s at the level of a transcendent idea, whereas what is given to our sensibility can only be given as intensity. In other words, differences in intensity and its occurrence movements bring natural motions and cyclical occurrences. What Deleuze refers to as intensity cannot be divided and itself consists of differences in differences. At this time, emotion creates the sublime aesthetic mechanism by executing transcendent. The sublime is an aesthetic phenomenon that occurs when the representation sensibility and imagination stop, and the transcendent sensibility and imagination are pushed to the limit. Kant says that the sublime phenomena are transitions from discomfort caused by a failure of sensibility and imagination to a feeling of pleasure that arises when rationality captures infinity. However, I consider the failure of representation sense and imagery in the sublime - rather as the process of understanding and emotional result on the principle of moral and difference as the implement of transcendental sensory and imagination, and the principles of nature arising from it. At this time, the principle of difference is understood as a mysterious feeling mythicized in a meditative condition in the sublime emotion or a process of the dynamic process of differences. The characteristics of my work can be summarized as follows as the result of the study. When the principle of difference and repetition and the form of the intensity of difference works emotionally, these senses, perception, and the transcendent practice of sensibility, are given as an aesthetic form of the sublime. In this respect, the work can be said that difference and repetition and the difference in intensity are revealed as the sublime aesthetic form. In conclusion, I have defined the foundation of nature as the principle of difference and repetition; based on this, I have identified that my work brings the fundamentals and senses pictorially and cause to think.

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