가상현실 기반의 뉴미디어아트 : 물질 혹은 비물질

전혜숙(Jeon Hyesook) 서양미술사학회 2011 서양미술사학회논문집 Vol.34 No.-

The very term virtual reality, as Elizabeth Grosz explains, attests to a real not quite real, not an ‘actual real’, a ‘really real’ but a real whose reality is at best virtual. But VR(Virtual Reality) experienced through New Media, means the technology by which we can enter into computer-made space, and aims to realize the space that viewers or users can sense a kind of ‘presence’ (an impression suggestive of ‘being there’) but objects are consisted of just light figments and electronic bits. VR produces a high-grade feeling of immersion, of presence, which can enhanced further through interaction with apparently ‘living’ environments in ‘real time’. The artworks based on VR can be categorized into the ‘Immersive VR’ that viewers must go into CAVE(Cave Automatic Virtual Environment) and the ‘Interactive MR(Mixed Reality)’ that the virtual realities are superimposed onto actual reality. Both of them propose, on the one hand, the problems of materiality/immateriality in experience of viewers, and on the other hand, the problems of body, because expanded image spaces can be experienced poly-sensorily and interactively. It is important to determine which characteristics of virtual image systems distinguish them from images of traditional artworks. It is necessary to explore and analyze the new aesthetic potential and that technology has made possible. To the artists working with computer-aided, interactive, real-time images, new possibilities of expressions are open. But is unchangeable fact that new media arts based on VR use immaterial lights. In this essay, for focusing on the issue of materiality and immateriality, I introduced the VR works of Jeffrey Shaw, Charlotte Davies, Paul Sermon, Maurice Benayoun, Romy Achituv, Camille Utterbak etc. As a conclusion, the VR artworks are in the border(in-between-ness) of the material and the immaterial, and they have a kind of second-ordered materiality, so call ‘liminal’ materiality. In the near future, we can discuss the concept of ‘Technological Materiality’ in relation to VR, that is a kind of new materiality beyond the dualist paradigm.

유토피아와 디스토피아의 경계

전혜숙(Hyesook Jeon) 서양미술사학회 2014 서양미술사학회논문집 Vol.41 No.-

이 논문은 생명기술이 만들어낸 문화적 변화가 무엇인지, 혹은 그러한 기술을 둘러싸고 발생하는 문제들을 비판하는 바이오아티스트들의 작업이 무엇을 말하고 있는지 유토피아와 디스토피아라는 개념에 비추어 살펴보고 있다. 본 글은 현실의 부정적인 요소의 제거 혹은 없음을 열망하는 유토피아와, 부정적인 것을 과포화 상태로 갖고 있는 디스토피아가 항상 서로 맞물려있음을 주장함으로써, 유토피아 혹은 디스토피아가 모두 상상의 공간이지만, 모두 같은 현실에 대한 반응임에 주목한다. 또 과도한 독재정부, 감시와 언론통제, 억압받는 불행한 개인들로 묘사되어 온 디스토피아가 최근에 유전자 조작의 폐해와 두려움, 신자유주의 경제 및 자본과 손잡은 생명공학 기술이라는 새로운 양상으로 묘사되고 있음을 다룬다. 이러한 맥락에서 현재 활동하고 있는 많은 바이오아티스트들은 생명기술에 대한 찬반의 경계, 혹은 유전공학 기술이 가져오게 된 유토피아와 디스토피아 세계의 경계에 머물고 있지만, 생명기술 사용의 배후에 숨겨진 모순을 드러냄으로써 비판적인 입장을 취하는 바이오아티스트들도 있다. 그들은 기술결정론에 대항하는 미술적, 철학적 반응으로서 비판적인 아이러니를 택해, 아무리 선한 의도를 갖고 있다 하더라도 생명을 주관하고 통제하는 이데올로기 안에는 늘 부정적인 결과를 초래할지도 모르는 (생명) 권력의 모순이 존재함을 고발한다. 바이오아티스트들의 작업과 관련해 보더라도, 유토피아와 디스토피아는 동전의 양면과 같다. 생명과학기술의 미래가 질병 없는 세상을 위한 희망과 유토피아의 영역임과 동시에, 예측 못할 하이브리드의 공포와 동물희생이 만연한, 그러면서도 자본과 권력 내에서만 극대 효과를 얻게 되는 디스토피아의 영역을 포함하듯이, 생명기술을 다루는 바이오아트 또한 그러한 이중적 영역을 포함하는 것이 당연할 것이다. This study looks into bioart, which uses biotechnology itself positively or criticizes the issues that surround such technology. In this essay, I assert that utopia, which desires the removal or non-existence of negative elements of reality, and dystopia, which has negative elements in a supersaturated state, have always existed inter-locked with each other. While both utopia and dystopia are imaginary spaces, they both respond towards the same reality. Recently, fear towards the ills of genetic manipulation which has gotten out of hand, biotechnology which has joined hands with neoliberal economics and capital under the name of bio-industry, and an extreme gap between the poor and rich and class conflicts which necessarily follows, etc. are emerging as new perspectives of the dystopic. Most bioartists remain at the boundary between the approval and disapproval towards biotechnology or between the utopian and dystopian world brought on by genetic engineering technology. However, there are bioartists who reveal the hidden contradictions behind the use of biotechnology. They have selected critical irony as an artistic and philosophical response against technological determinism. They criticize the contradiction of bio-power which always has the possibility of triggering negative results within the ideology that oversees and controls life, however good intention the nation had for humans and global environment. By revealing the contradictions of the narratives that are prevalent in relation with biotechnology through their ‘wet hands’ and criticizing the controlled ideology within bio-intervention claimed by national power and bio-industry, these bioartists claim that the contradictions and ideology work as the basis of dystopia. The territory of biotechnology is the area of utopia and hope for a world without disease, but at the same time, it is also the area where fear of the unforeseeable hybridity exists, many animals are sacrificed for experiments, and a dystopia where extreme effect can only be attained within capital and power. Thus, bioart, which has biotechnology as its theme, also encompasses the dual meaning of the two areas and pursues a utopia, yet criticizes its other side, the dystopian world of contradictions.

청소년 스마트폰 중독 치료 프로그램의 효과성 증진 방안: 포커스 그룹 인터뷰를 중심으로

전혜숙 ( Jeon Hyesook ),전종설 ( Chun Jongserl ) 한국보건사회연구원 2017 保健社會硏究 Vol.37 No.3

본 연구는 청소년 인터넷 및 스마트폰 중독 관련 전문기관 종사자 총 9명을 대상으로 포커스 그룹 인터뷰를 실시하였으며, 현장 전문가들의 지식 및 임상 경험에 근거하여 청소년 대상 스마트폰 중독 치료 프로그램의 효과성 증진 방안을 모색하는 데 그 목적이 있다. 주제분석(thematic analysis)을 사용하여 스마트폰 중독 치료 프로그램의 효과성 증진 방안에 대한 전문가 포커스 그룹 인터뷰를 통해 수집된 자료를 분석한 결과, 총 7개의 주제가 다음과 같이 도출되었다. 1) 자기인식 및 변화동기 강화; 2) 대안활동 경험과 이를 통한 성취감 및 자아존중감 증진; 3) 대상의 특성이 반영된 프로그램 구조 제공; 4) 프로그램 진행자 역량강화; 5) 부모와 친구의 지지 강화; 6) 학교와 협력적 동반자 관계 형성; 7) 연계 서비스 제공. 도출된 각 주제를 토대로 스마트폰 중독에 대한 정확한 정보 제공과 동기면담 기법 활용, 체육, 음악, 미술 등을 활용한 대안활동 제공, 청소년 특성 고려한 프로그램 구성 및 인지행동이론 적용, 프로그램 진행자를 위한 실무교육과 훈련 제공, 부모와 친구의 협력 유도를 위한 교육 및 참여활동, 학교와 파트너쉽 구축을 통한 프로그램 구성 및 진행, 병원 등 유관기관과의 연계 서비스 제공 등과 같은 구체적인 방안을 제시하여 실천현장에서 유용하게 활용할 수 있는 청소년 스마트폰 중독 치료 프로그램 개발과 실행을 위한 기초자료를 제공하였다. This study aimed to explore ways of improving the effectiveness of smartphone addiction treatment programs for adolescents based on field experts` knowledge and clinical experience. A focus group interview was conducted with nine field experts in an institution specializing in the treatment of adolescents` Internet and smartphone addiction. The interviews were analyzed using thematic analysis. The following seven themes were derived: 1) improving self-awareness and motivation for change, 2) providing alternatives to smartphone use and enhancing subjects` sense of accomplishment and self-esteem, 3) providing a program framework suitable for subjects and their characteristics, 4) strengthening the capacity of clinicians, 5) empowering program operators and encouraging support from parents and peers, 6) establishing collaborative partnerships with schools, and 7) providing affiliated services. Based on these findings, the following specific methods for improving the effectiveness of smartphone addiction treatment programs for adolescents were suggested: providing alternative activities such as physical activities, music, art, etc.; applying program composition and cognitive behavioral theory considering the characteristics of the youth; providing practical training and education to program operators; implementing educational and engagement activities to encourage parents` and friends` cooperation; composition and implementation of the program with the cooperation of schools; and provision of linked services with related institutions, such as hospitals.

인류세의 관점에서 본 생태 미술의 특징

전혜숙(Hyesook Jeon) 현대미술사학회 2021 현대미술사연구 Vol.- No.49

‘인류세’란 인류가 홀로세를 끝내고 새로운 지질시대를 시작할 만큼 지구에 영향을 주었다는 의미로, 그리스어 어원의 ‘인간’(anthropos, ἄνθρωπος)과‘ 새로운 시대’라는 시간적 의미를 지닌 cene(καινός)을 합친 말이다. ‘인간’이라는 단어를 사용함으로써 기후변화 등 지구 시스템 변화의 책임이 확실하게 인간에게 있음을 강조하는 용어지만, 그‘ 인간’이 누구인가를 둘러싼 상이한 견해로부터 자본세, 대농장세, 툴루세 등 다른 명칭들도 나왔다. 본 논문은 이러한 인류세의 담론이 미술에 어떠한 영향을 주고 있는가를 시지각의 변화와 숭고미의 소환이라는 관점에서 살펴본다.‘ 인류세’ 시대의 생태 미술들은 환경 파괴의 원인을 비판하는 것으로부터 사회적 실천, 생태 미학의 발견, 생태-행동주의에 이르기까지 기존의 방식을 유지하되 좀 더 구체적으로 지속가능한 생태의 미래를 위한 방법을 찾고 있다. 본 연구에서는 인류세의 생태 미술 사례로 플라스틱을 사용해 포스트네이처의 미학을 강조한 타라 도노반, 플라스티신(Plasticene) 프린팅 기법을 사용하는 저스틴 브라이스 과리글리아, 더 이상 자연이 아닌 자연으로서의 포스트네이처를 상상하는 피나욜다스, 그리고 〈산림법〉을 통해 자본세를 고발하고 에콰도르 원주민들의 행동주의적 생태실행을 소개한 우슬라 비에만과 파울로 타바레스, 해결을 위한 제안으로서의 생태미술 프로젝트를 실행한 릴리언 볼, 그리고 참오동나무를 통해‘ 제3의 자연’을 사유하는 이소요의 작업을 통해 인류세의 의미가 이들의 작업에 어떻게 반영되고 있는지 살피고 있다. The Anthropocene refers to the fact that mankind has ended the Holocene and started a new geological age. It is a combination of the Greek “human”(anthropos, άνθρωπος ) and the expression meaning ‘new age’ cene (καινός). Using the word ‘anthropos’ emphasizes that humans are clearly responsible for the changes in Earth’s systems including climate. However, different names for the Anthropocene came from different views of ‘anthropos’. In this study, I examine how the discourse of Anthropocene has influenced ecological art. Ecological arts in the era of the Anthropocene maintain their existing methods, from criticizing the causes of environmental destruction to social practice, discovery of ecological aesthetics, and ecological activism, but they seek a more specifically sustainable ecological future. As examples of ecological art representing the Anthropocene, I study Tara Donovan and Justin Bryce Guaglia, who show the aesthetics of post-nature using plastic; Pina Yoldas, who imagines post-natural lives as no longer natural; Usla Viman and Paulo Tavares, who introduced the activist ecological practices of Ecuadorian indigenous peoples; and Lilian Ball, who executed an ecological art project as a suggestion for a solution. I also examine the work of Soyo Lee, who considers ‘third nature’ through the princess or empress tree(Paulownia tomentosa Steudel).

에두아르도 카츠(Eduardo Kac)의 ‘새로운 생태’에 관한 연구

전혜숙(JEON hyesook) 서양미술사학회 2012 서양미술사학회논문집 Vol.37 No.-

This study is on the possibility and validity of ‘new ecology’ of Eduardo Kac(1962~), an American artist from Brazil. His works from 1990 have been a search to express and manifest complexity, and have focused on communication, relationship, interpretation between different life forms(humans, animals, and hybrids) and robots or bio-telematics. Kac’s work is a search to express and manifest complexity, but his most recent pieces are based on the production of a new ecology where organic and technological systems cross-pollinate. The works as Essay Concerning Human Understanding (1994), A-Positive (1997), Darker Than Night (1999), represent the convergence and communication among plants, animals, humans and machines(robots). Essay Concerning Human Understanding, a collaboration between Kac and Ikuo Nakamura, stands out as a rare artistic use of telerobotic devices to facilitate remote communication between non-humans, a canary in Kentucky and a philodendron plant in New York. This work can be seen as a allegory of the very possibility of communication and the human desire to overcome isolation by bridging the gap between self and other, subject and object. Darker Than Night was a profound attempt to investigate the possibility of empathy towards creatures that are different from us due to their specific sensory and motor system-the physical facts that determine their actions and experiences. In this work Kac addresses the human-machine-animal relationship with a complex interface, enabling humans and bats to become mutually aware of their presence in the cave through the exchange of sonar emmissions. Kac said that transgenic art is a new art form based on the use of genetic engineering techniques to transfer synthetic genes to an organism or to transfer natural genetic material from one species into another, to create unique living beings. Molecular genetics allows the artist to engineer the plants and animal genome and create new life forms. Transgenic artworks like Genesis (1999), GFP Bunny (2000), The Eighth Day (2000-2001), are defined not only by the birth and growth of a new plant or animal but above all by the nature of the relationship between artist, public, and transgenic organism. In this sense, these works suggest the need to nurture a network ecology with humans and non-human creatures. From a social, political, and philosophical point of view, his art shows us a new ecology which harmonize carbon and silicon. In his article “Dialogical Telepresence Art and net Ecology”, he wrote that “As optical fibers thread the soil like worms, and digitally encoded waves cross the air as flocking birds, a new ecology emerges....Our synergy with telerobots, transgenics, nanobots, avatars, biobots, clones, digital biota, hybrids, webots and animats, and other material of immaterial intelligent agents will dictate our ability to endure fast-changing environmental conditions in a networked world.” According his statement, his ‘new ecology’ is the world that human, animal, plants, robot, and transgenic creatures have a symbiotic relationship together. It would be deserved to reconsider as a eco-system with dynamic balance and co-evolutions, and a possibility and validity for solving the ethical problems of bio-arts.

청소년 자살예방 프로그램 효과성에 관한 메타분석

전혜숙(Jeon, HyeSook),전종설(Chun, JongSerl),정하은(Chung, HaEun) 한국정신건강사회복지학회 2017 정신보건과 사회사업 Vol.45 No.3

본 연구는 메타분석을 활용하여 청소년 자살예방 프로그램의 효과성에 대한 선행연구결과를 종합적으로 살펴봄으로써 청소년 자살예방 프로그램의 효과적 기준과 방향성을 제공하는 데 목적이 있다. 2000년부터 2016년까지의 국내 학위논문 및 학술지논문 총 29편이 메타분석에 활용되었고 자료분석은 Comprehensive Meta Analysis(CMA) 3.0을 사용하였다. 랜덤효과모형으로 분석한 결과, 전체 프로그램의 평균효과크기 값이 0.810으로 큰 것으로 나타났다. 또한 프로그램 구성요소별 하위집단분석 및 조절효과분석 결과로 프로그램의 운영시간 및 운영회기가 길수록 효과크기가 큰 것으로 확인되었다. 이와 더불어 프로그램 유형은 현실요법, 마음챙김 프로그램, 분노조절 프로그램, 생명존중 프로그램, 통합적 프로그램의 효과크기가 유의미하게 큰 것으로 나타났다. 본 연구결과를 토대로 실천방안 제시를 통해 청소년 자살예방 프로그램 개발과 실행을 위한 기초자료를 제공하였다. This study aims to evaluate the effectiveness of suicide prevention programs for adolescents and to provide clinical implications for planning and implementing them. A total of 29 dissertations and journals published in Korea from 2000 to 2016 were analyzed using Comprehensive Meta-Analysis (CMA) 3.0 software. The results based on the random effect model showed that the mean effect size value of the total programs was high with 0.810. The analysis of effect sizes of subgroups by program components and moderating effects revealed that longer operating hours and the larger number of sessions resulted in larger effect sizes. It was also revealed that the effect sizes were significantly larger in the reality therapy, the mindfulness program, the anger control program, the life respect program, and the integrated program. Based on the findings, clinical implications were provided for future development and implementation of suicide prevention programs for adolescents.

현대미술 속의 신체변형

전혜숙(Hyesook Jeon) 현대미술사학회 2012 현대미술사연구 Vol.0 No.31

미디어의 측면에서 본 바이오아트

전혜숙(Hyesook Jeon) 현대미술사학회 2013 현대미술사연구 Vol.0 No.34

In this study, I try to draw up a topographic map of the discourses on medium (media), new media, and the post-media condition, to examine the features of bio-media used in bioart and its significance as a medium. By combining the artistic media with the very different areas, digital technology and biologic technology, bioart has opened a new world of media that has not yet existed. In other words, bioart groups together the biological media using living cells and culture, not only with the artistic role which expresses the ideas, information, image, sound, color and texture, but also with digital function which encompass both biological content and artistic expression. Thus, Eugene Thacker defines biomedia as “the informatic recontextualization of biological components and processes.” This is because in contemporary biology, concepts related to biological material are informaticized in some kind of form, and reversely, information can also be transformed into biological material in some way. That is, the technologies of bio-informatics and bio-computing, under an inverse relationship, both actually illustrate how biology can become media. I have explained the features of biomedia, combining biology and digital technology, with Peter Weibel”s concept of the second phase of the condition of post-media, “the mixing of the media”. Media-specificity will disappear and all media will be fused together, stimulated by universal digital computer technology. This can, on one hand, be explained through the phenomena of media convergence. Biological methods, computer technology and esthetic meanings, previously disparate, become converged through each media layer. That is, even though they are living biological media, they can be reverted into linguistic code or data, and can be considered also as the convergence of layers producing the socio-cultural meanings and content, closely related to them. I have actually applied them to bioart works to substitute the layer of “Wetware” as the physical layer, the layer of “Dryware” as code-logical layer, and the layer of “Meaningware” as the cultural layer. Wetware, that is bio-media from the physical layer perspective, signifies the biological media encompassing the culture, cells, bacteria, and all experimental instruments while dryware, the bio-media seen from code-logic layer of biocomputing technology, becomes integrated into language, data, and logic along with DNA nucleotide codes, and finally, meaningware, the biomedia from the cultural layer, presents the content and meaning produced through the work. However, the media which has meaning in each layer become fused in bioart and is placed within converged media. The meaning of bioart is further emphasized through the “aliveness” of media which is the art and life in bioart works. However, media which is dependent on being alive also has the living being’s destiny to die one day. Bioartists place their biomedia upon the boundaries of life and death, to make us again perceive life, to expose technology which manipulates living organisms, and rethink about the hidden capital and conspiracy of ideology behind bio-technology. In other words, although they borrow technology from bio-technology, they emphasize the “natural” law of “death”, despite bio-technology”s aim for lengthening human life. The “aliveness” of the media enforces a certain burden and responsibility to the artists. This is related to the technology dealing with organisms, the expression forms and content of their art, and the message they want to deliver. The “aliveness” of biomedia not only gives influence to the convergence of different media, but becomes a greater burden and significant content to the viewer who has to read it as one converged entity. The producers of biomedia aim for viewers to possess a critical position for themselves as they realize the present state of scientific research in this area and view the various arguments and perspectives

내재화 및 외현화 문제행동이 청소년의 스마트폰 중독에 미치는 영향: 자기효능감의 매개효과를 중심으로

전혜숙 ( Jeon Hyesook ),전종설 ( Chun Jongserl ) 한국청소년복지학회 2017 청소년복지연구 Vol.19 No.3

본 연구의 목적은 청소년들이 겪는 우울·불안과 공격성이라는 내재화 및 외현화 문제와 스마트폰 중독 간의 관계에서 자기효능감의 매개효과를 검증하여 사회복지 실천적 함의를 모색하는 것이다. 이를 위해 서울지역의 초·중·고등학생을 대상으로 설문조사를 실시하였으며, 최종적으로 229명이 분석에 활용되었다. 구조방정식 분석 결과, 청소년의 우울·불안은 스마트폰 중독에 직접적 영향을 미치는 것으로 나타났고, 공격성 또한 유의미한 정적 영향을 미치는 것으로 나타났다. 자기효능감의 매개효과를 분석한 결과 청소년의 우울·불안과 스마트폰 중독 간의 관계를 부분매개한 것으로 검증되었다. 이러한 연구 결과는 청소년의 우울·불안, 공격성 완화와 더불어 자기효능감 증진을 위한 사회복지 실천 방안 모색의 필요성을 시사한다. The purpose of this study is to examine the mediating effects of self-efficacy on the relationship between depression/anxiety as internalizing problem behaviors and aggression as externalizing problem behaviors and smartphone addiction among adolescents. A total of 229 adolescents in Seoul participated in this study. The structural equation modeling analyses were conducted. The results showed that both depression/anxiety and aggression had a direct effect on smartphone addiction. In addition, the relationship between depression/anxiety and smartphone addiction was partially mediated by self-efficacy. Based on the findings, clinical implications were provided to mitigate adolescents` depression, anxiety, and aggression and to promote self-efficacy should be necessary.

피부 - 경계가 무너지는 장소

전혜숙(Hyesook Jeon) 서양미술사학회 2015 서양미술사학회논문집 Vol.43 No.-

본 연구는 생명기술로 인해 변화된 새로운 신체의 의미 아래, 자신의 피부를 이용하거나 피부조직을 배양하는 미술 작품들을 다룸으로써, 피부의 생물학적, 의학적, 사회문화적, 정신분석적 의미의 변화를 고찰하고, 현재 이루어지고 있는 다양한 피부 미술 실행들이 포스트휴먼 신체 이해의 관점 속에서 볼 때 어떤 의미를 지니는지 살피고 있다. 피부를 다루는 미술가들은 크게 두 영역으로 나뉜다. 하나는 피부자아의 개념을 유지하면서 열린 피부가 지닌 의미, 기능, 이미지의 특징을 시대적, 신체적 변화에 근거해 사회문화적으로 재해석하는 작업들이고, 다른 하나는 피부자아의 개념으로부터 벗어나 피부가 지닌 외부경계로서의 기능과 의미를 해체하고, 피부 세포조직을 혼성 배양함으로써 피부를 문화적 경계와 생물학적 경계의 사이에 전략적으로 놓는 작업들이다. 그러나 이러한 작품들에서 공통적으로 피부는 외부와 접촉하는 표면으로 머물지 않고 투과하고 스며들어 경계를 허무는 장소가 되었으며, 자아를 둘러싸는 싸개, 보호막, 경계 같은 의미에서 벗어나, 배양되고 자라나 그것들로 무엇인가 디자인해 만들 수 있는 매체와 수단이 되고 있다. 그러한 특징들은 변화하고 있는 21세기의 신체의 의미와 밀접한 관련이 있으며, 다양한 생명기술을 어떻게 사용할 것인가에 대한 숙고를 요구하고 있다. This study is on recent artworks, in which artists use their skin and skin-tissue culture for hybridization. On the one hand, this essay aims to describe the changes of biological, medical, socio-cultural and psychoanalytic meaning of skin under the biotechnology, on the other hand, it tries to find a new signification of skin-artworks from the perspective of posthumanism. In this essay, I am examining two artists groups that are divided by their way of using the skin. The first group re-interprets the meaning, function and characteristics of images of open-skin, with maintaining the concept of ‘skin-ego’, while the second group who use the skin-tissue culture, without the concept of ‘skin-ego’, tends to deconstruct the function and signification of boundaries of skin, and strategically put the skin between cultural and biological boundaries. In both of these groups of artworks, skin is no more to be an interface by which meets outside world, but is to be a place that crumbles the boundary, and to be a kind of medium with which we can make or design for artwork.