KINE[SIS]TEM'17 From Nature to Architectural Matter

Kine[SiS]tem – From Kinesis + System. Kinesis is a non-linear movement or activity of an organism in response to a stimulus. A system is a set of interacting and interdependent agents forming a complex whole, delineated by its spatial and temporal boundaries, influenced by its environment. How can architectural systems moderate the external environment to enhance comfort conditions in a simple, sustainable and smart way? This is the starting question for the Kine[SiS]tem’17 – From Nature to Architectural Matter International Conference. For decades, architectural design was developed despite (and not with) the climate, based on mechanical heating and cooling. Today, the argument for net zero energy buildings needs very effective strategies to reduce energy requirements. The challenge ahead requires design processes that are built upon consolidated knowledge, make use of advanced technologies and are inspired by nature. These design processes should lead to responsive smart systems that deliver the best performance in each specific design scenario. To control solar radiation is one key factor in low-energy thermal comfort. Computational-controlled sensor-based kinetic surfaces are one of the possible answers to control solar energy in an effective way, within the scope of contradictory objectives throughout the year.FC

Documentation art and Korean Bunche painting:an investigation of Deleuze’s Transcendental Realism through the painting process

This art practice-based research aims to rediscover Gilles Deleuze’s theory of art as an aesthetics of Transcendental Realism through the process of Korean Bunche painting. Bunche painting, which I have been working on for twenty years, refers to a thousand-yearold traditional Korean painting technique which uses powder pigments mixed with water glue (Agyo) on Korean paper (Hanji) in multiple layers. By means of an action research methodology, a series of my Bunche paintings’ processes were documented with digital photography and film, and reinvented as an independent video art piece which I call Documentation Art. This Documentation Art project challenges the conventional understanding of modern Korean Bunche painting in relation to the influence of Japanese Nihonga and Western abstract painting, and produces a new experimental potentiality, by means of interdisciplinary studies of Deleuze’s theory of art and the Korean art movement of Trueview (Jingyeong) realism. Throughout this research project, I explore how Deleuze’s process ontology and ‘virtuality’ give form to Documentation Art through ‘becoming’ and ‘desubjectification’ associated with transcendental time. Deleuze’s concept of the transcendental field of immanence, as a condition of real experience, radically recasts Plato’s Idea and subverts the notion of representation derived from Kantian transcendental aesthetic. This is the basis of the aesthetics of Transcendental Realism which integrates Deleuze’s ‘transcendental aesthetics of sensation’ with the aesthetics of ‘view from Tao’, based on Deleuze’s ontological position of the univocity of being. As a result, the Documentation Art is provisionally defined as Agencement machines, which operate by connecting different fields, and giving the connected assemblages entirely new sensesthrough the experimental process. In Deleuze’s aesthetics of Transcendental Realism, the Documentation Art project searches for the real in the deepest of Deleuze’s ontological layer, where transcendental time is encountered, underneath conceptual representation and interpretation

Catalog Denison University 2005-2006

Denison University Course Catalog 2005-2006https://digitalcommons.denison.edu/denisoncatalogs/1102/thumbnail.jp

Catalog Denison University 2004-2005

Denison University Course Catalog 2004-2005https://digitalcommons.denison.edu/denisoncatalogs/1101/thumbnail.jp