미학적 경험의 일반화와 새로운 패러다임 - 이브 미쇼의 예술론 (The Generalization and New Paradigm of Aesthetic Experience: Yves Michaud’s Art Theory)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 24호 / 59 ~ 80페이지
· 저자명 : 현지연

초록

The French philosopher Yves Michaud has asked about the nature of contemporary art and aesthetic experience all along from his first book, “Artist and commissionaires”. He comprehends that the paradigm of the Modernism is not more available for the contemporary art’s situations and observes how the new paradigm of art relates to the work of art and products the new forms of aesthetic experience.
He observes “the double movement between vaporization of art and aestheticization of societies” invading our life in the whole aspects like science, politics, art, architecture, fashion, cooking etc. He describes the process of this ‘double movement’ and its consequences that consist of the new paradigm of art and aesthetic experience in our time.
The position as analytic philosopher adopted by Michaud is more flexible than that of ontology or historicism. Because the ontology is inclined to set something forth as a premise and the historicism to recognize the only one dominant form. For Michaud, one of the most proper means to explain the art might be to observe, analyze and diagnose as exactly as possible the new paradigm of art.

영어초록

The French philosopher Yves Michaud has asked about the nature of contemporary art and aesthetic experience all along from his first book, “Artist and commissionaires”. He comprehends that the paradigm of the Modernism is not more available for the contemporary art’s situations and observes how the new paradigm of art relates to the work of art and products the new forms of aesthetic experience.
He observes “the double movement between vaporization of art and aestheticization of societies” invading our life in the whole aspects like science, politics, art, architecture, fashion, cooking etc. He describes the process of this ‘double movement’ and its consequences that consist of the new paradigm of art and aesthetic experience in our time.
The position as analytic philosopher adopted by Michaud is more flexible than that of ontology or historicism. Because the ontology is inclined to set something forth as a premise and the historicism to recognize the only one dominant form. For Michaud, one of the most proper means to explain the art might be to observe, analyze and diagnose as exactly as possible the new paradigm of art.

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