예술과 경제

박일호(Park Ilho) 현대미술학회 2009 현대미술학 논문집 Vol.13 No.-

There are two contrary perspectives in approaching the relationship between art and economy. One is a negative point of view that it will only impede creativity, a primary and essential function of arts and culture, to apply an economical logic to them and operate arts organizations pursuing a concept of administrative efficiencies. The other is a supportive opinion that there is no reason for the arts and cultural organizations to make an exception and should follow the general trend of rational and efficient operation since they are run by public funds of taxpayer's precious money. This thesis takes a side of the latter, saying it is time for the arts and cultural organizations to grope for more effective operational schemes. In this perspective, it will examine reciprocal relationship between art and economy, focusing on the features of that relationship as well. And it will further scrutinize the relationship by dividing it into a few areas that needs a particular attention in the context of the relationship between art and economy. Can public support for the arts be justified? The thesis examines the economical effects on society of the arts and takes some instances of analyzing phenomena related to artistic activities, groping for the efficient managerial schemes for the arts and cultural organizations. As a conclusion, it will try to explain that the quests for an operational efficiency are needs of the times by taking an example of R. Krauss' emphasis on industrialization of the museum in the late capitalism. Meanwhile, in the conclusion, I point out that economic principle and an idea of efficiency should not become an absolute criterion for the arts and culture, but an useful reference as an way for the arts and cultural organizations to avoid a chronic deficit and emerge from financial sufferings. It is in the context that it is not desirable to focus only on the economical effects and GDP on which the arts can bring an impact, ignoring the inherent value of it.

과연 주요 원칙은 무차별성 원칙을 함축하는가?

박일호(Ilho Park) 한국분석철학회 2016 철학적 분석 Vol.0 No.35

최근 공동으로 발표한 논문에서 호손, 란데스, 월만, 윌리엄슨은 루이스의 주요 원칙이 무차별성 원칙을 함축한다고 주장했다. 이 흥미로운 주장이 참이라면 베이즈주의자들은 모두 순수 주관주의자들이 되거나 아니면 객관주의자들이 되어야 한다. 순수주관주의가 그리 좋은 대안이 아니라는 점을 고려할 때, 그들의 결론은 거의 모든 베이즈주의자들을 객관주의자들로 만들게 되는 듯하다. 본 논문의 목표는 이런 흥미로운 함축을 가지고 있는 호손, 란데스, 윌만, 윌리엄슨의 주장을 비판하는 것이다. 필자의 논거는 간단하다. 그것은 무차별성 원칙을 도출하기 위해서 그들이 제시하는 가정들이 심각한 문제를 야기한다는 것이다. Hawthorne, Landes, Wallman, and Williamson recently argue that Lewis’s Principal Principle implies the Principle of Indifference. This interesting claim seems to lead almost Bayesians to objectivism, which says that the rational initial credence function is uniquely determined by some objectivist rule like the Principle of Indifference. However, I will show in this paper that their argument has a fatal problem. In particular, it is shown that one of the assumptions, which the authors provide in order to derive their conclusion, has some weird consequences.

비정밀 확률주의 : 현황과 전망

박일호(Park, Ilho),정재민(Jung, Jaemin),김남중(Kim, Namjoong) 한국분석철학회 2018 철학적 분석 Vol.0 No.39

본 논문의 목표는 비정밀 확률주의라는 확률주의의 새로운 흐름의 주요 주장들을 분석하고 향후 연구 방향을 제시하는 것이다. 1장에서는 비정밀 확률주의 출현 배경과 형식적인 측면을 주로 다룬다. 이를 바탕으로, 2장과 3장에서는 비정밀 확률주의의 주요 구성요소들에 대해서 최근 제기된 문제들을 다룬다. 특히 2장은 비정밀 확률주의의 믿음 갱신 문제를, 3장은 비정밀 확률주의와 의사결정 이론 사이의 관계를 다룬다. 4장과 5장은 비정밀 확률주의가 여러 인식론적 문제들을 어떻게 보완하는지, 혹은 그런 문제들과 어떻게 긴장하는지를 설명한다. 4장은 비정밀 확률주의와 전통 인식론 사이의 관계를, 5장은 비정밀 확률주의와 정확성 기반 확률주의 사이의 관계를 다룬다. The objective of this paper is to explicate some of the main arguments in the so-called Imprecise Probabilism. In Section 1, we will provide the motivations and formalism of Imprecise Probabilism. Sections 2 and 3 are devoted to introducing and explicating the way of updating our credences in the framework of Imprecise Probabilism, and the relationship between such probabilism and the decision theory. Lastly, we will examine in Sections 4 and 5 the relationship between Imprecise Probabilism and other epistemological programs-in particular, perceptual dogmatism and accuracy-based probabilism.

베이즈주의와 과학혁명: 새로운 이론과 비정밀 확률주의

박일호 ( Ilho Park ) 한국논리학회 2022 論理硏究 Vol.25 No.2

존 어만(John Earman)에 따르면, 베이즈주의는 쿤의 과학 혁명을 믿음 집합에 새로운 이론이 도입되는 것으로 간주할 수 있다. 본 논문은 이런 어만의 통찰이 기본적으로 옳다고 가정한다. 하지만 나는 이와 관련된 국내외 몇몇 연구, 특히 화마키스(Famakis 2008), 여영서(2011), 허원기(2015), 전영삼(2011, 2019)의 작업은 그 나름의 문제점을 가지고 있다고 논증할 것이다. 그리고 쿤의 과학혁명, 즉 새로운 믿음 대상의 도입을 베이즈주의 방식으로 다룰 수 있는 새로운 길을 제안할 것이다. 특히 나는 우리의 믿음 상태를 확률함수의 집합으로 표상하는 비정밀 확률주의가 훌륭한 대안이 될 수 있다는 것을 논증할 것이다. According to John Earman, Bayesianism can regard Kuhnian scientific revolutions as introductions of new theories to the existing belief set. I will assume in this paper that this view basically on the right track. However, it will be argued that some other works like Famakis (2008), Yeo (2011), Her (2015), and Chun (2011, 2019), which hinge on, or are related to Earman’s view, have some problems. Moreover, I will suggest a new Bayesian way of modeling Kuhnian scientific revolutions and so the introduction of new theories. In particular, it will be argued that imprecise probabilism, which represents an agent’s belief state by means of a set of probability functions, is a good alternative to a more standard approach.

매체의 전환, 미적경험의 확장

박일호(Park Ilho) 현대미술학회 2008 현대미술학 논문집 Vol.12 No.-

This thesis aims at studying on the characteristics and significance of media art. This is to bring out the aspects of aesthetic experiences which are notified as a new realm of art, and also to suggest the significance of this matter as presenting the difference between traditional art and media art. In this thesis, I examined the characteristics and transformation in media art on the basis of the theories of M. Mcluhan and L. Manovich. According to Mcluhan, the era of electronic media which was leaded by TV required us to fully employ multiple senses rather than the sense of sight alone. TV as a cool media has demanded the active participation of the viewers as well. On this viewpoint, this thesis attempts to explain the appearance and characteristics of video art as well as the works showing such examples, Also, by looking into the theory of Manovich who named computer as the new media according to the fact that it has surpassed the realm of TV, this thesis will observe the characteristics and examples of computer art or else digital art. Especially, I try to explain the concept of multimedia, virtual reality, telepresence, interactivity which are all considered as the characteristics of computer art, by applying the principles of new media asserted by Manovich - numerical representation and variableness. Also, I try to indicate that the principles of new media noted by Manovich could be explained on the extended line of Mcluhan's view. Upon this context, I attempt to suggest the new characteristics of media art carried by the use of TV, video, computer by enumerating three point of views, which can be classified into light, communication, and time. Also, I point out the fact that the answer to the question, "is this art or technology?" lies upon the demonstration and degree of creativity displayed in each work.

일어남직함과 믿음직함: 이스마엘의 일반 해법과 페티그루의 비판

박일호 ( Ilho Park ) 한국과학철학회 2017 과학철학 Vol.20 No.1

우리의 믿음직함은 세계의 일어남직함과 모종의 관계를 맺어야 한다. 하지만 이 둘 사이의 관계에 대한 대표적인 규범인 데이비드 루이스의 주요 원리는 이른바 흄 수반 논제라고 불리는 일어남직함 등에 대한 형이상학적 설명과 충돌한다. 이런 충돌을 피하기 위해서 주요 원리에 대한 몇 가지 대안이 제시 되었다. 본 논문은 이 대안들 중에서 예난 이스마엘의 일반 해법을 비판적으로 평가하는 것을 목표로 한다. 이를 위해, 2절은 흄 수반 논제와 주요 원리 사이의 충돌을 설명하며, 3절은 이 충돌을 피하기 위한 주요 원리들의 대안들을 서술한다. 4절과 5절은 이 대안들 중에서 이스마엘의 일반 해법에 대한 비판적인 평가를 제시한다. 특히 일반 해법에 대한 리처드 페티그루의 비판과 그에 대한 이스마엘의 답변을 설명하며(4절), 페티그루의 비판을 수정하여 제시하는 경우 이스마엘의 답변은 성공적이지 않다는 것을 논증한다(5절). Many philosophers think that our credences should be related to objective chances in a certain way. Interestingly, Lewis`s Principal Principle, which is one of the most famous norms, turns out to be incompatible with the Humean Supervenience, which is a metaphysical thesis regarding chances. As well known, some modified versions of the Principal Principle are suggested so as to circumvent such an incompatibility―for example, New Principle and General Recipe. This paper aims to critically examine Ismael`s General Recipe. To do so, the incompatibility in question will be provided in Section 2, and it will be explained how some modified versions of the Principal Principle circumvents such an incompatibility. Sections 4 and 5 will be devoted to critically examining General Recipe. In particular, Pettigrew`s argument against General Recipe and Ismael`s response to the argument will be considered in Section 4, and then it will be argued in Section 5 that Ismael`s response must fail with the help of a modified version of Pettigrew`s argument.

주요 원리와 조건화의 상호보완성

박일호 ( Ilho Park ) 한국논리학회 2018 論理硏究 Vol.21 No.3

본 논문의 목표는 공시적 인식 규범인 주요 원리와 통시적 인식 규범인 조건화 사이의 관계를 명시적으로 밝혀내는 것이다. 이를 위해, 나는 먼저 2절에서 주요 원리와 조건화의 여러 형태들을 정식화할 것이다. 그리고 3절에서 주요 원리와 조건화는 상호 보완적이라는 것을 논증할 것이다. 이 상호보완적 관계는 두 가지 방향에서 제시된다. 첫 번째는 조건화에 의한 주요 원리의 보완이며, 두 번째는 주요 원리에 의한 조건화의 보완이다. 첫 번째 보완관계는 조건화를 이용해 신념도를 갱신하는 경우, 특정한 형태의 주요 원리만을 만족시킨다면 모든 형태의 주요 원리를 만족시킬 수 있다는 것을 의미하며, 두 번째 보완 관계는 언제나 주요 원리를 만족하는 경우, 모든 신념도를 조건화를 통해 갱신하기 위해서는 일부 신념도만을 조건화를 통해서 갱신하는 것으로 충분하다는 것이다. 이 결과, 주요 원리와 조건화가 꽤 밀접한 관련이 있다는 것이 밝혀질 것이다. This paper is intended to examine a relationship between the Principal Principle and Conditionalization. For this purpose, I will first formulate several versions of the Principal Principle and Conditionalization in Section 2. In regard to the relationship between the two norms in question, I will show in Section 3 that the Principal Principle and Conditionalization are complementary in two particular senses. The first complementarity is that we don't have to formulate every version of the Principal Principle if the credences evolves by means of Conditionalization. The second complementarity is that we don't have to require for rational agents to update overall credal state by means of Conditionalization if the agent satisfies the Principal Principle. This result can be regarded as a result that criticizes and supplements some existing works about the relationship between the norms.

블록버스터 전시의 의의와 과제

박일호(Park Ilho) 현대미술학회 2007 현대미술학 논문집 Vol.11 No.-

The purpose of this thesis is to trace the significance of 'blockbuster exhibitions' within the present state of late industrial society. The museum alone can not be free from the influence of industrialization and popularization, which is extending over the entire field of society. Also, this thesis indicates that the museum can no longer adopt the elitism of the modernism era in the attitude towards culture and art, and that it should accept the aspect of populism. More over, it demonstrates the significance of blockbuster exhibitions in order to insist that we should not linger within the ground of 'art for art's sake', and that the cultural institution must consider the relationship between art and economy. On the other side, though these tendencies are being supported by the demands of our times, the museum will have to make efforts to neutralize the excessive popularization so as to defend the specialized domain of art itself. That is, the aspects of fostering value of the specialized domain of art or museums, must keep the balance with the prospects of the transition from elitism to popularism, and the connection between art and economy. National and public museums should serve the public. On this, they should regard public interest as its primary duty during the process of administration. The social function of the museum is also essential, considering that it relies on the financial support through the taxes from the general public. Blockbuster exhibition could be favorably applied at the point that it stimulates interests in art and culture by embracing a broader range of public and enlarges the efficiency of museum management. However, serious problems may occur if this makes process only by the commercial purpose and motive of some certain management company. Specialized art exhibition planned by the museum itself as well as considerations which reflects the desire of the public must go side by side. Or else, the acquirement of speciality which is another significant duty of the museum, or the cultural function of the museum might be easily lost.

포스트모더니즘 시대의 미술관

박일호(Park Ilho) 한국예술경영학회 2003 예술경영연구 Vol.4 No.-

The aim of this paper is to examine the changes of museum in postmodern era focusing on museum space as context and the industrialization, popularization of museum. The modern museum on the principles of modern art pursued the autonomy of art, and tried to draw the line between art and life. It was designed for the artwork to be isolated from everything that would detract from its own evaluation of itself. The outside world must not come in, so windows were sealed off. Walls were painted white. According to the principles of mdern art, modern museum transposed the perception from life to formal values of artwork. But the postmodern museum is grounded on the principles of postmodern art coping with modern art. First, it emphasizes the museum space which influences the meaning of artwork. It is from the thought that the meaning of artwork is not determined by itself but by the relation of artwork and the external - place, social and cultural context etc. This point is explained through the theory of Brian O’Doherty in this paper. Another characteristic of postmodern museum results from the critical mind that modern art and museum alienated the masses from the apprehension of artwork exaggerating formal values. Therefore postmodern museum focuses on the reunification of art and life, communication with the masses, and management skills of museum. This thought is coincided with expanded industrialization in late capitalistic society, and is connected with industrialization and popularization of museum. I explore this point on the base of the theory of Rosalind Krauss. Investigating those aspects of postmodern museum, I suggest as conclusion that those changes of postmodern museum are not imperative, but must be recieved as supplementing the weakness of modern museum.

카시러의 상징형식으로서 예술

박일호(Ilho Park) 현대미술학회 2003 현대미술학 논문집 Vol.7 No.-