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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper pays attention to a conceptual path from the picture plane to the screen by alluding to the metaphor of the window, with which Alberti invented the perspectival system in Renaissance, and goes on to investigate the socio-cultural, aesthetic, and political implications of the screen-based art by referring to Jacques Ranciere’s notion of the aesthetic regime. It starts with the material and conceptual continuity between the flat surface of canvas and that of screen, on which reality has been represented to be open onto other worlds. A medium is essential for the work of art as a physical and conceptual site. It is a space where images are made, viewed, and interacted with the viewer. Yet, Greenbergian Modernism has crystallized the medium of picture plane into an autonomous realm of art, separating it from life. Against the autonomy in art, Ranciere proposes to embrace differences to revitalize art deprived of life. To remedy the lost link between art and life, he stresses that the picture plane has never been as pure as the Modernist aesthetic claims because it is contaminated by ideas and words.
Taking on Ranciere’s notion of the flat surface as “a surface of conversion,” this paper examines the screen as an arena, in which conventional boundaries are blurred. The binaries of inside and outside, front and back, here and there, now and then, the material and the immaterial, the self and the other no longer determine and condition our perception of the world. Owing to the technological development, the screen has radically transformed our viewing experience and challenged the traditional relation between the self and the world. This paper asserts the theoretical relevance of Ranciere’s notion of the aesthetic regime in understanding the goal of new media art. As opposed to the representative regime, the aesthetic regime eliminates the hierarchy imposed on the rules of representation, thereby asserting equality among differences. By provoking the viewing subject to become an active participator, physically and conceptually, the screen-based art has contributed to generating changes in life as well as in art. In search of the active meaning of the new media art, this paper ultimately aims to resurface its embedded spirit of the avant-garde, which seeks to bring life back into art.
Taking on Ranciere’s notion of the flat surface as “a surface of conversion,” this paper examines the screen as an arena, in which conventional boundaries are blurred. The binaries of inside and outside, front and back, here and there, now and then, the material and the immaterial, the self and the other no longer determine and condition our perception of the world. Owing to the technological development, the screen has radically transformed our viewing experience and challenged the traditional relation between the self and the world. This paper asserts the theoretical relevance of Ranciere’s notion of the aesthetic regime in understanding the goal of new media art. As opposed to the representative regime, the aesthetic regime eliminates the hierarchy imposed on the rules of representation, thereby asserting equality among differences. By provoking the viewing subject to become an active participator, physically and conceptually, the screen-based art has contributed to generating changes in life as well as in art. In search of the active meaning of the new media art, this paper ultimately aims to resurface its embedded spirit of the avant-garde, which seeks to bring life back into art.
목차
Ⅰ. 들어가며
Ⅱ. 창문의 은유
Ⅲ. 스크린으로의 전환과 관람주체의 변화
Ⅳ. 랑시에르의 미적 체제 안에서 바라본 스크린의 확장에 대한 고찰
Ⅴ. 나가며
참고문헌
Abstract
참고문헌 (18)
참고문헌 신청
1. [학술지(정기간행물)] - 김희영 / 2011 / 자율성을 벗어난 추상: 랑시에르의 미학의 정치에 대한 고찰 / 현대미술학 논문집 15 (2) : 41 ~ 77
2. [단행본] - Flusser, Vilem / 1977 / Two Approaches to the Phenomenon, Television, In The New Television: A Public/Private Art / The MIT Press
3. [단행본] - Derrida, Jacques / 1987 / The Truth in Painting, trans. Geoff Bennigton and Ian McLeod / The University of Chicago Press
4. [단행본] - Friedberg, Anne / 2006 / The Virtual Window: From Alberti to Microsoft / The MIT Press
5. [학술지(정기간행물)] - Huhtamo, Erkki / 2004 / Elements of Screenology: Toward an Archaeology of the Screen / Iconics:International Studies of the Modern Image 7 : 31 ~ 62
2. [단행본] - Flusser, Vilem / 1977 / Two Approaches to the Phenomenon, Television, In The New Television: A Public/Private Art / The MIT Press
3. [단행본] - Derrida, Jacques / 1987 / The Truth in Painting, trans. Geoff Bennigton and Ian McLeod / The University of Chicago Press
4. [단행본] - Friedberg, Anne / 2006 / The Virtual Window: From Alberti to Microsoft / The MIT Press
5. [학술지(정기간행물)] - Huhtamo, Erkki / 2004 / Elements of Screenology: Toward an Archaeology of the Screen / Iconics:International Studies of the Modern Image 7 : 31 ~ 62
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UCI(KEPA) : I410-ECN-0101-2014-600-002875133