ScholarWorks@중앙대학교

초록

The Anthropocene refers to the current period in which humans are becoming geological agents and disturbing ecosystems. But it is not limited to visible environmental degradation or manifestation of climate change. It also refers to the fact that objects outside the realm of human perception, distributed over vast range of time and space, are no longer in the background, but have penetrated directly into our daily lives. The Anthropocene is therefore fundamentally an epistemological crisis and a matter of aesthetics. Timothy Morton’s ecological aesthetics, which combines object-oriented ontology with his ecological thought, is a useful way to think about this issue. Morton considers anthropocene as ”Hyperobjects” and argues that the cause of today’s ecological crisis has always been the agrilogistic mode of thinking. This is the idea that there is a ”Nature,” which means that Nature is regarded as something outside of us, as a coherent object. Morton derives the aesthetic causality of the hyperobjects from Object-Oriented Ontology, and suggests that the solution is to acknowledge this ontological fact through art. Autoradiography is an example of this ecological aesthetic. Nevertheless, Morton’s ecological aesthetic has certain limitations. Because he ignores the fact that the aesthetic causality which he presents as a solution is exactly a primary cause for people to disavow the ecological crisis and maintain the existing order. To address this, this study reveals that hyperobjects and subject is simultaneously has emerged in the wake of Scientific Revolution and proposes an alternative by utilizing the concepts of subject and symptom of psychoanalysis. Finally, an alternative ecological aesthetic is exemplified through Park, Chankyong’s < Belated Bosal >(2019)

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