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Our study discussed how the consuming practice on these bodies is possible to change our consciousness and cultural practice. In particular, I attempted to argue that the new image exerted a lot of influence on the body due to the mass media, and is more controversial in urban space. The body is a product of human activity, and also a space formed in social space. Images in the urban space are flooded and humans constantly enjoy something, but why are human existences absent? To answer this question, this was based on Henri Lefebvre and Jean Baudrillard' s central insights. It is necessary to discuss how the construction of modern space in accordance with the logic of capitalistic desires and ideologies metamorphose the thought on human existence or body. I focused on some street artists, namely works by Miss. tic and Zevs who propose freely activities within the city space. Since they are free to reorganize urban space, they show a variety of thoughts about the problem of capitalism and consumption through a female-image detourne. Through a variety questions that how our consumption behavior penetrated the body and space, I argue that humans themselves will be able to provide an opportunity to re-reflect on everyday life that we have a choice of how to live.

What differences can there be between sense and reason? Is human capacity of analogizing the relationship between substance and phenomenon through such differences sensory or deductive? Can sense be physical? It can be said that the extrinsic logic of sense as an attribute of things made the issues of representation become important and had us ignore the essential dimension of senses themselves in the sense that the works of representation can explain about the world. This empirical perspective has made us to accept representation 1s the proof of we are living in the world. However, the sense in media art is the pure internal existence of itself because new media is non-physical and the ontology of absence. Through relationship with things and do not exist in relation or one external and the external ones, at least the sense of media art, is the of pure inner surface itself. New media, is because the ontological absence of a non-material to phenomenal. Works of media art, appearmg not physical but sensory, involve a characteristic of movement and accommodate the characteristics of specific changes of life. Media art raises a philosophical problem because sense must be taken as existential entity in digital era and the sense can be discussed in the paradigm of philosophy because media art is far beyond the scope of representation and imitation of traditional artistic media. The sensory reason makes experience mediatize in the duration of the reaction to the world in the sense of McLuhanian perspective of "the media is the message" and is the reactive process that is constantly building the events of the world. Sensory contemplation is the process of liberalization driving themselves to the state of anomie and an attempt to dismantling themselves. Through sensory contemplation, thus, we can deduce the ontological root of media art and make disappear the borderline between life and art. Iconography of the image producing now has to be changed into aesthetics of media art that is creating intrinsic values of art by itself. The beginning of the epistemology of media art can be started from the change lasting in the continuity over time through the sensory contemplation and the duration of looking for the possibility of transcending the boundaries artificially set by traditionally established mind.

Le rococo est un mouvement artistique européen du dix-huitième siècle touchant principalement l'architecture, mais également les arts décoratifs, ainsi que la peinture et, dans une moindre mesure, la musique et la littérature. Le style rococo est en vogue au dix-huitième siècle qui dérive à la fois du grand style baroque et du décor rocaille français. Le terme s'applique à une partie de la production picturale, claire, légère et mouvementée, à l'architecture et à toute une ornementation foisonnante, asymétrique et lumineuse. En France, le rococo apparaît sous la Régence et culmine sous le règne de Louis XV, vers 1745, où il supplante le classicisme, qui a marqué le règne de Louis XIV. En ce qui concerne la France on parle de style rocaille, qui est une des sources du rococo, mais qui par exception au reste de l'Europe, s'exprime presque exclusivement dans les arts décoratifs. Les salons du dix-huitième siècle ont contribué à dévlopper le style rococo. Les salons étaient des réunions d'esprits d'élite ou des nobles. Comme ces salons étaient presque toujours présidés par des femmes, ils étaient décoré au syle rococo selon des goûts des hôtesses. Alors, l'atmosphère des salons était décoratif et lumineux. C'est dans leur salon que s'est développée l'habitude de la conversation, et qu'est né l'art de la causerie caractéristique de la société française. Ces salons ont exercé une influence considérable sur les moeurs et la littérature. Le succès du style rococo s'explique par le contexte politique. Sous la Régence, la cour quitte V ers ailles pour Paris et se libère de la discipline et de l'étiquette contraignante imposée par Louis XIV. Elle aspire à une vie plus légère, à plus de liberté, et le style rococo connaît une diffusion immédiate dans la peinture, la sculpture et le mobilier. Le rococo continue de s'inspirer du baroque par son goût pour les formes et les dessins complexes. Mais il commence à se différencier en intégrant des caractéristiques différentes comme des compositions asymétriques. Les thèmes légers et sur la joie de v1vre, les conceptions complexes et détaillées du rococo sont en totale opposition à !'architecture et la sculpture imposante et massive du baroque. Le style rococo répond à une aspiration à la légèreté, au confort et à la frivolité. Surtout, La décoration d'intérieur rococo est le symbole de bon goût et de la mode pour toute la noblesse et la bourgeoisie de !'époque. Mais, en 1785, le rococo est passé de mode en France. Il est remplacé par le sérieux et ordonné style néoclassique.

Self-portraits of artists convey their life journey and inner psychology. Perhaps, it is a matter of course that the artists'lives are reflected on their self-portraits. Artists who often paint self-portraits reveal themselves through the paintings. And, perhaps, the artists see themselves as they want to, or must, see through their self-portraits. In that sense, self-portraits are the life and record of the artists as an individual. Munch, Van Gogh, and Rembrandt are known for having painted many self-portraits, through which they answer the question: "Who am I?" Why did Munch have to paint so many self-portraits? How did his passion for painting and solitude change Van Gogh? How did Rembrandt become a libertine? We can find answers to these questions by observing their self-portraits closely and carefully. study attempted to examine the lives and egos of Munch, Van Gogh, and Rembrandt through their self-portraits, and, thereby, provide an opportunity to think about the message they wanted to convey through their own images through the self-portraits. As a research method, this study explored the psychological self development process and looked into the ego theory proposed by Husserl. psychology, ego development is influenced by genetics and environment through childhood, adolescence and senescene, forming a trajectory of one's life. Development of attachmentduring childhood, self-examination and success during adolescence, and self-integration during senescene have tremendous impact throughout the life cycle of a human being. In phenomenology, Husserl divided ego into physical self, personal self, and pure self explained characteristics of each self. Based Husser!' s self theory, this study investigated how the egos of Munch, Van Gogh, and Rembrandt were projected in their self-portraits. exploration process provided a framework within which to understand consc10us or subconscious psychology of the self found m the self-portraits of Munch, Van Gogh, and Rembrandt, and understand self-portraits of artists from a different perspective.

The purpose of this study IS to analyze how post-modernism, the mainstream trend of the world, influences Korean art education and figure out art university's education in accordance with Korean art culture and the situation of art education critically. Unfortunately, so far, the Western tastes or phenomena have been often adopted uncritically, or the trends of art modernized in a wrong way have existed mixedly in Korean art university education under the name of nationalism or Korean styles. Active induction of advanced culture means not only to absorb the world's trends promptly and realize cultural communion but also to combine and apply them more properly as more Korean-style art and art education. Instead of accepting the internationality of Western post-modernism as simple logic, it would be needed to understand the ground directly as well as aggressively and also filtrate and consider it retrospectively. This should be essential for our art and art education, too. It would be just cursory imitation or copying to accept what is Western just as it is with no verification. This is naturally against post-modern thinking and causes confusion in Korean art and education. Within the diverse changes and aspects of the West, we should absorb some common denominators. In other words, for Korean art education to present desirable conditions for art education, it IS needed to grope for realistic gaps between Western patterns and our art concretely and then accept them. Only when Western post-modern art is improved appropriately for Korean art education, we can see the potentials of Korean art equipped with its own legitimacy. Above all, when it creates the lives of ours genuinely and when we participate in the history of global art actively with thorough understanding and affection for our history, we can revitalize our art and art university's art education. The world today demands homogeneity in many ways. So far, we have maintained silence about the demand for homogeneity. Instead of being silent about the Western art trends literally, it is important for us to present desirable directions for our lives and discuss in order to find ways for Korea art and art education to proceed newly.

21st century has undergone many changes especially in cultual and economy field. One of the many changes is the industrial paradigm that is been changed from manufactural industry to cultural industry. Therefore many countries consider cultural industry as new growth engine industry which has a positive ripple effect and completely support and promote. Korean government also specifies cultural industry as next generation growth engines and completely support and promote with the stream of times and increases budget in promotion of cultural industry. The basic premise which cultural industrial activity has a positive effect in economies and societies presupposes in the foundation of the policy. In the same vein, recently, central government as well as local government increasingly concerned about cultual industry. This is because that cultural industry has an infinite of potential that can play a major role in vitalization of local economy. As well as, citizens's desire regard culture and art is increasing in terms of enjoyment of art and culture. Since there is a growing realization that cultural industry is able to bring positive effect, currently many local government attempt to develop businesses regarding art and culture. However, practically speaking, promoting cultural industry is not as simple as we think and local governments which lack infrastructure regarding culture have to strive for carrying the cultural businesses to a successful conclusion. Therefore, local government should strive to fine a breakthrough with specialization plans which consider their ones' features for vitalization of local economy in environment that infrastructures regarding culture are clustered in Seoul region or areas near Seoul. In the case of Gwangju, currently, Gwangju is poor market share in cultural industry. therefore, Gwangju makes a lot of effort for developing as a cultural city, and have many positive conditions such as hub city of asian culture, public sector relocation and construction of innovation city in NaJu etc. Therefore, This study aims to look for suggestions of cultural industry in Gwangju through analyzing success factor of cultural industry in Sheffield, England.