모더니스트 미학의 시각성에 대한 비판적 저항으로서의 상호작용 개념에 관한 고찰

다국어 초록 (Multilingual Abstract)

This paper goes over an art historical and theoretical path to articulate the active meaning of the work as a site of interaction, while conducting a critical discussion on the Modernist aesthetic, which considers the visual sense superior to other senses. Marshall McLuhan's discussion on the changes, that electric media brought, is relevant in challenging the confinement of the Modernist aesthetics, which limits the experience of the work to the realm of opticality. McLuhan's concept of synesthesia, a kind of tactility, sheds light on the concept of interactivity. The case studies of new media art, which focuses on the participant's interactivity, show that the consideration of a role of art as a creative means of communicating with others persists.
This paper also intends to develop an archaeological approach to 'action/interaction' as a contribution to a wider cultural mapping of interactivity in art Harold Rosenberg's notion of the canvas indicates a challenge to the modernist notion of it by focusing on the open possibility of the canvas, which became 'an arena in which to act' Nicolas Bourriaud's notion of the relational form also provides an interactive perspective, which stirs up new 'possibilities of life' and allows disparate elements to meet The wok of art is not provided as a static aesthetic object to be viewed, but is a place where the interaction between the artist and the material, moreover the interaction between the work and the viewer can take place. Paying attention to the interactive aspects in art, this paper argues that the work of art has a social and cultural role in forming a community.

목차 (Table of Contents)

• Ⅰ. 들어가며
• Ⅱ. 모더니즘 이론의 시각성에 관한 비판적 고찰
• Ⅲ. 상호작용 개념의 실현의 예
• Ⅳ. 상호작용 개념에 대한 미술담론적 논의
• Ⅴ. 맺으며
• 참고문헌
• Abstract

참고문헌 (Reference)

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