‘탈-인간중심적’ 사유로서의 카오스 이론 -니체, 들뢰즈, 그리고 예술-

이재걸(Lee, Jae-Geol) 동서미술문화학회 2020 미술문화연구 Vol.18 No.18

카오스 이론의 상징과도 같은 ‘나비 효과(Butterfly Effect)’는 복잡계의 무작위성 안에 펼쳐지는 정교한 기하학적 구조를 보여준다. 프랙탈(Fractal) 구조에 가까운 ‘기이한 끌개’(Strange Attractor)로 표현되는 나비 효과는 초기조건의 사소한 차이가 엄청난 결과를 초래한다는 비선형 결정론적인 동역학계, 즉 카오스계의 핵심을 관통한다. 일찍이 니체(Friedrich Nietzsche)는 카오스를 철학적 테제로 삼아 “전체로서의 세계를 원칙적으로 무엇이라고 언급할 수 없는 것, 말로 표현할 수 없는 것”으로 이해하고, 인간중심적인 모든 상대적 규정들을 거부하였다. 니체의 카오스론은 인간의 모든 규정이란 세계 그 자체의 것이 아니라, 단지 상황의 변화에 종속된 인간의 투사일 뿐임을 간파한다. 니체에 이어 카오스에 관한 가장 광활하고 역동적인 설명을 제공한 들뢰즈(Gilles Deleuze)도 그의 오랜 지적 동반자였던 가타리(Felix Guattari)와 함께 ‘카오스-무한’을 차이생성의 본질로 고찰하면서 ‘탈-인간중심적’ 차원의 우주론과 인식론을 전개한다. 특히 이들은 카오스를 사유의 원천으로 삼으면서, 사유를 정의하는 것, 사유의 세 가지 큰 형식들로서 철학, 과학, 예술을 설명하고, ‘무한’을 대하는 태도로부터 이 세 가지 사유 영역을 각각 구분하였다. 이때 예술은 감각들의 집적이자 지각들과 정서들의 복합체로서 유한을 거쳐 무한을 되찾는 고된 여정을 통해 무한을 복원하려는 사유 활동으로 파악된다. 들뢰즈와 가타리는 니체의 입장에서 카오스를 ‘생산적인 질서를 지닌 창조적인 것’으로 간주하고, 예술의 지상목표는 카오스를 감각하여 그 감각적 심상에 질료를 입혀서 감각을 현실화하는 것이라고 말하는 것이다. 여기서 진리의 비고정성과 불확정성은 ‘카오스 미학’을 통해 새로운 창의적 역량을 부여받는다. “The Butterfly Effect,” which has been considered to be the symbol of the chaos theory, displays a sophisticated geometric structure that spreads within the randomness of the complex system. As it is expressed as a “Strange Attractor,” which is similar to the fractal structure, the butterfly effect penetrates the pith of the nonlinear deterministic dynamical system in which a minor difference in the initial condition would in turn lead to a spectacular result, that is, the chaos system. Friedrich Nietzsche who once selected chaos as his philosophical thesis, understood that "the world as a whole is in principle something that can neither be described nor orally expressed” and refused every relative anthropocentric regulation. The chaos theory presented by Nietzsche surpasses the point for which every human regulation with respect to the world is not concerned about the world itself but considers it to be a human projection subject to changes in the circumstances. Following Nietzsche, Gilles Deleuze, who provided the broadest and most dynamic explanations on chaos, ruminated on the “chaos-indefiniteness” by considering it to be the essence of the creation of differences,” along with Felix Guattari, his long-term intellectual companion, and explored cosmology and epistemology in terms of “post-anthropocentrism.” Especially, they regarded chaos as the origin of thought and elucidated philosophy, science and art as the three large frames of thought, and divided these three sections of reason, respectively, from the attitude responding to “infiniteness.” Here, as a point of the contact of senses and at the same time a complex of reasonable activities, art is understood as an activity that restores infiniteness through a strenuous journey f or infiniteness that is attainable by passing through finiteness. Deleuze and Guattari regarded chaos as “what is creative within productive order” from the perspective of Nietzsche, and stated that the supreme goal of art is to sense chaos and subsequently materialize this sense by putting substances on the sensible image thereof. In this context, the characteristic of truth that can never be fixable and uncertain is granted a new creative capability through “the aesthetics of chaos.”

우매(愚昧)의 미학 -어윈 부름의 작품을 중심으로

이재걸 ( Jae Geol Lee ) 중앙대학교 예술문화연구원 2014 예술문화융합연구 Vol.2 No.-

The roles of those artists who have made comical absurdity their character have varied along with the changing demands and characteristics of the times. However, what they fundamentally have in common is that they complement the features of the ideal hero, and sometimes, nimble on their feet, they cross the borders of morality, which the ideal hero is not capable of crossing. Such art that probes into the values that the relevant society seeks by cultivating a unique channel, as well as the arts in other categories, may well be said to involve a sense of responsibility of being conscious of positive changes in society. Alongside the purpose of presenting comical absurdity as its dominant nature, it is also intended (by suggesting unexpected ideas about reality to the viewers who are the captives of the complex structures of society) to conquer the ennui that originates from the limitations of the external features of life. Erwin Wurm’s works are one contemporary artist’s aesthetic act of resistance against such boredom. The artist captures the hidden crack in the ennui that is sealed with incomplete common knowledge, and engages with it effectively by means of the strategy of exaggeration and randomness. Through his strategy, the series of anti-rational forms and anti civilizational acts disturbs the viewer’s perception, and the paradoxical outputs that stand against appropriateness gain unexpected vitality. In fact, for both the art itself and its viewers, it is always necessary to maintain caution when facing such a discourse of negation. In order to disarm such guarded views, Wurm brings in a comical factor that the idiocy in his work represents. The sense of idiocy in the artist’s context is not applied with the intention of plotting a conflict, but with the intention of relieving one. Clearly, verifying what the aesthetics of idiocy violates, what the smile of the absurd disturbs and, what his somewhat unmethodical manner criticizes is not bad news to the art itself or its viewers in modern society. Preferably, it must help recovering modern men’s sense, and it must provide one efficient case of the numerous attempts in art to listen to the voices of modern men suffering from alienation.

북유럽 르네상스 회화와 그로테스크-W. 카이저와 B. 바흐친의 이론을 중심으로

이재걸 ( Jae-geol Lee ) 중앙대학교 예술문화연구원 2015 예술문화융합연구 Vol.3 No.-

After being found as a motif from the Renaissance period, Grotesque had long been assessed as Distortion of the Nature and has distinctive characteristics from Convenance that were matched with general notions in the era. Grotesque are ornamental arrangements with hybrid natures of obscure intention or part of facilitators of ugliness in arts works which always seemed far away from a viewer` track and stood on an opposite side of reasonable arts along with a mockery for the rational arts and its unique fantastic nature. These characteristics brought negative attitudes toward the works, describing them as Absurd Exaggeration or Disgusted Jokes . However, Grotesque was rediscovered with modern sensational arts methods and theories by Wolfgang Kayser and Mikhail Bakhtin that were followed by a variety of interesting arts works and related discussions in the 18th and 19th century, and now, this variety and potential of methods are included into genuine and official aesthetic object. From these perspectives, the main purpose of this study are to find out different as well as common factors between the two prominent arts theories by comparing and dividing them based on forms and emotional aspects of the Grotesque Discourse. In addition, the reason for the study to select works from Hieronymus Bosch and Pieter Bruegel de Oude are because their works have abundant iconic characteristics of the Grotesque. The works, sources to bring up imagination for challenging the works from the Renaissance period in Northern Europe, can prove aesthetic aspects of the modern Grotesque and serve as a specific case to be used for analyzing the past works. Also, devil icons by the two artists are now having rather different interpretations from the past, delivering a new meaning of the works with extended interpretation to us. Paintings by Bosch and Bruegel display fear, bizarre and various weird humors along with the theory with embarrassed fear and universal sensation of carnival by Kayser and Bakhtin indicate a world with tedious and lack of imagination that the Grotesque method wants to overturn.

잠재가격에 의한 모선별 고조파전압제약을 고려한 고조파 저감기법에 관한 연구

이범,김용하,최상규,이재걸,연준희,Lee, Bum,Kim, Yong-Ha,Choi, Sang-Kyu,Lee, Jae-Geol,Yeon, Jun-Hee 한국조명전기설비학회 2003 조명·전기설비학회논문지 Vol.17 No.4

본 연구는 잠재가격을 사용하여 고조파를 효과적으로 저감시키는 새로운 방법을 제시한다. 우선, 고조파를 효과적으로 저감시키기 위하여 각 모선에 잠재가격을 적용하였으며, 전력수전점과 각 모선에서의 고조파한계치 이내로 고조파를 저감시킬 수 있는 새로운 알고리즘을 개발하였다. 그 결과, 배전계통에서 경제적으로 필터의 크기와 위치를 결정할 수 있도록 하였다. 제안한 방법을 실제계통에 적용하고, 그 유용성을 검증하였다. This paper presents a new harmonics reduction methodology using shadow price. First, we employed shadow price of each bus to reduce harmonics effectively. Second, we developed a new algorithm which can reduce harmonics under limits at PCC and each bus. As a result economical design of filters and its location of the distribution system is possible. This method is applied to the real system, and the usefulness of the method is verified.

가스유해성 평가방법에 따른 유기단열재의 연소특성에 관한 연구

심지훈 ( Ji-hun Shim ),이재걸 ( Jae-geol Lee ),한경호 ( Kyoung-ho Han ),김주완 ( Ju-wan Kim ),송석훈 ( Seok-hun Song ),조형원 ( Hyung-won Jo ),윤도영 ( Do-young Yoon ) 한국화학공학회 2022 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.60 No.4

Domestic building finishing materials are being evaluated according to KS F 2271 standards according to the notification of the Ministry of Land, Infrastructure and Transport, and this test is evaluated using laboratory animals. In this study, experiments were conducted on highly combustible organic insulation materials such as EPS, urethane, and phenolic foam. The purpose of this study was to analyze the cause of the behavioral suspension of the experimental mice by measuring the average behavioral suspension time of the mice caused by the harmful gas generated when these three types of insulation materials were burned. FTIR analysis and smoke density experiment were performed as a cause analysis method for the behavioral suspension of mice, and the experimental results were analyzed by dividing the causes of behavioral suspension into suffocation by particulate matter and toxic inhalation by gaseous substances. As a result of the test, urethane was evaluated as the most harmful insulation material, and as a result of FTIR analysis and smoke density test as a cause analysis for the gas toxicity test results, it is judged that the behavioral stop of the rats by suffocation is higher than the effect of toxic inhalation. This study is a basic study on the cause analysis of harmful gases, and it will be necessary to prepare the toxicity basis and analyze various materials and gases.

분전반 내부 화재 확산 예방을 위한 내화 기술 개발

정승용(Seung-Yong Jung),진승환(Seung-Hwan Jin),이재걸(Jae-Geol Lee),송석훈(Seok-Hun Song),박정우(Jung-Woo Park),김홍수(Hong-Su Kim),전준표(Jun-Pyo Jeon) 대한전기학회 2023 대한전기학회 학술대회 논문집 Vol.2023 No.7