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The Systemic Turn : Reprogramming Systems Aesthetics and Contemporary Artistic Practices
Sohn, Young Sil(손영실) 한국전시산업융합연구원 2019 한국과학예술융합학회 Vol.37 No.3
This study dealt with the implications of Burnham’s systems aesthetics and analyzed contemporary artistic practices as its application and expansion. Burnham’s systems aesthetics had been reprogrammed by contemporary artists and shown within contemporary curatorial expressions and artistic practices with academic interest of new media art in 1990s. Systems aesthetics provided the opportunity to rethink art through systems. Contemporary systems art allowed the viewer to produce a generative meaning, considering visual, social and cultural boundaries through system-consciousness. This study contributed to reevaluate system aesthetics and reconfigure artistic practices in new types of aesthetic relationships based on systemic interactions.
Sohn, Young Sil(손영실) 한국전시산업융합연구원 2019 한국과학예술융합학회 Vol.37 No.5
This study dealt with Kim Daesoo’s work 1988-1998, which were characterized by convergent construction of various media such as photography, painting, sculpture, engraving based on plastic experimentation. In this period, Korean photography showed radical changes, different from previous photographic tendencies and were seen in big size print and with mixed use of technique. Kim Daesoo presented new visual form by an artistic act of organizing artistic materials, similar to be seen in the development of western art. He tried to search for the self and meaning of life in his work. His visual strategy was also to reinforce intuitive recognition and influence viewer’s perception. These qualities, exhibited generic attributes of works which are discussed as explicit expansion of conceptual thinking. This study contributed to suggest right viewpoints on Kim Daesoo’s photography.
손영실(Young-Sil Sohn) 한국콘텐츠학회 2011 한국콘텐츠학회논문지 Vol.11 No.4
점점 증가되는 도시 속의 영상 프로젝션과 늘어나는 대형 스크린들은 도시의 미디어 환경을 재고하게 한다. 도시 속에서 미디어가 갖는 위상에 관한 물음에서 명확한 것은 미디어는 이제 추상적으로도 그 자체를 위해서도 존재하는 것이 아니며 가상 현실은 대도시의 일반적인 모습 속에서 존재하고 있다는 것이다. 대형화면으로 투사되는 비디오 이미지는 점점 관객들에게 접촉하는 듯한 느낌을 줌과 동시에 관람객들은 공간 속으로 몰입되는 느낌을 받게 된다. 본 논문은 도시 속의 비디오 아트 형태의 영상 프로젝션이 갖는 의미와 도시의 미디어 환경을 고찰해 봄으로써 대도시에서 비디오 아트 형태의 영상 프로젝션은 새로운 실재성, 가상과 현실, 몰입과 상호 작용성의 경험을 제공하며 도시의 미디어 환경의 관점에서 본다면 대도시라는 거대 텍스트는 어떤 주도적인 하나의 담론이 존재하지 않고 텍스트의 서로 상이한 담론들이 동시에 병립되어 서로 영향을 미치며 상호 소통되고 있음을 밝혔다. The development of projection technology produces series of discussions associated to various form of visual immersing possibilities by the way of projecting image directly to the obscure surface surrounded us. Besides, the significance can be found in terms of that this kind of image projection offers chance to citizens to enjoy high standard images and makes people consider media environment of city. Video art as the digital technology grafts penetrates formative space of city by projecting images. The certain thing about questions how the media has status in city is that media is now not existing for self neither for abstractly and virtual reality is existing in the general appearance of metropolis. This paper treats media environment of city and the meaning of image projection as from of video art in the city. It accesses about the meaning of video form visual art in big city- new reality, the virtual and the real, immersion and interactivity. And media reality of metropolis defines that there is not one major discourse in the gigantic text - metropolis rather they are different discourses each other simultaneously compatible in the gigantic text -metropolis and in fact, they affect each other and interact.
흐릿한 이미지의 담론 분석: 90년대 이후의 현대사진을 중심으로
손영실 ( Young Sil Sohn ) 현대사진영상학회 2010 현대사진영상학회논문집 Vol.13 No.-
This study has investigated the tendency related to the blurred image in the history of photography and then analyzed the photographic discourse, focusing on the photographic works which shows the blurred image explosively increased after 90`s. This kind of photographic image is not totally new but it has existed continuously in the stream of photographic history, Of course, the use of the blurred image in the early times of history of photography is totally different from the recent tendency. The blur as absence of material in the reality becomes an objective and existing material. If clear photograph threatens to construct the world as unachievable object, blurred photograph makes it possible to establish sensitive intimacy as the expression of emotion which accompany the all perception and appreciate the flow of time and compose the interpretation on it, functioning as a bridge between us and admitting our desire to feel continuous with it. If blurred photograph referred to real time and space, it doesn`t make us so painful but this photograph which appears eliminated of the human trace causes insomnia of dissolution. This is why blurred photograph has been isolated from the public for a long time. Sometime the blur evokes the ambiguous emergence of another world which exists itself and extended to margins, This kind of blur does not stay as the formal effect but as a literary evocation, even though it is weak is related to the reflection on the objective nature. The blur in reality is the absence of the object and as a temporary and untouchable trace, it is related to the illusion and question the representation and reveals the tension between the real and the illusion. In this way, blurred photograph which reveals the changed perception of materiality in according to time shows the division between the past and the real, by exploding the real and the memory and recomposing the uncertain relationship. This study has analyzed the effect of blurred photograph as the development of photographic material, continuation of special time and space, blur focused on the reality and reconstruction of the memory. Actually, each effect is not totally isolated but is interconnected. The preference for blurred image can be the indirect way of convincing the right of emotion and sensation over the idea, The blurred photograph evokes the emotion and sensation as the primary quality of life. By analysis, we can conclude that the blur is not the problem of visuality but that of discourse. And blurred photograph as a text is not fixed to the artist`s intention or a fixed meaning but contributes to the formation of the diverse photographic discourses and at the same time affords to the possibility to think about the work by giving a new position that makes the spectator reflect their own experience-ordinary or artistic.