인상파 풍경화에 나타난 근대도시

이택광 도시사학회 2010 도시연구 Vol.3 No.-

예술과 도덕--존 러스킨의 예술이념

이택광 19세기영어권문학회 2005 19세기 영어권 문학 Vol.9 No.2

[인문] 랑시에르와들뢰즈

이택광 심미안 2010 문학들 Vol.- No.21

픽사, 미메시스, 그리고 유토피아주의: 컴퓨터애니메이션과 디지털 아우라

이택광 문학과영상학회 2007 문학과영상 Vol.8 No.1

The aim of my essay is to explore the possibility of digital aura in computer generated animation film. The essay focuses on the way in which Pixar animation, a monumental animation fully generated by computer graphic imagery technology, constructs its own graphic visuality by combining computer technology with narrative effect in terms of immersivity. The argument leads to reconsider Benjamin’s concept of aura and reasserts the result of negative aura in the computer generated 3 dimensional image; computer generated animation paves the way toward the utopian impulse which has been witnessed in the lasting debate revolving around the issue of mimesis. It is Jurassic Park, a film directed by Steven Spielberg, when computer graphic technology took the inside track of film-making and became to play a key role in cinematography. The advent of computer generated film caused a remarkable shift from the traditional mode of film production to the newly constructed one—a digital circumstance that computer technology dominated the mode of experience and subsequently of perception. In this way, computer technology reconstructed the habitual way of seeing. From this perspective, my point is that the very aspect of computer technology intervenes the formal logic of film production and transforms cinematic narrative in terms of immersion between virtual reality and spectators. What is to be stressed here is that computer graphic technology is the new mimetic condition containing the utopian impulse from within, structuring the mode of aesthetic production in the age of information technology; reconstructing Benjamin’s and Adorno’s concepts of artistic autonomy, which are in fact presented in the aspect of aura, the essay concludes that the self-cancellation of mimesis, the paradox of mimetic impulse, pushes the mode of computer generated reality beyond the self-sufficient autonomy of aesthetic image embodied in computer animation.

비엔날레와 "세계 없음"의 미학

이택광 한국미술이론학회 2017 한국미술이론학회 학술대회 Vol.2017 No.05

적은 왜 발명되는가? - 정체성의 위기와 만들어지는 적들

이택광 심미안 2013 문학들 Vol.- No.33

문학과 이론, 그리고 비평적 읽기에 대한 ‘시차적 관점’

이택광 영미문학연구회 2009 안과 밖 Vol.0 No.27

What I want to argue in this essay is to trace back to the origin of the relationship between philosophy and literature and its influence to literary and artistic criticism. I consult with Benjamin, Lacoue-Labarthe, Nancy, and Ranciére, further Paik Nak-chung, in order to come up with the resolution for the problem of the separation between theory and criticism todays. The purpose is to prove the fact that literature always already presupposes the theoretical perspective in the sense that it has an aim to produce knowledge on the object. In this way, literary approach to the object reveals the similarity to the observation in natural science, yet it could be distinctive by the fact that its knowledge produced by the similar way is based on self-judgement: in short, the knowledge is self-knowledge which seems to be the absolute. My discussion leads to investigating the concept of National Literature suggested by Paik―its theoretical challenge towards “art for art” ideology which, unlike the Western context, was well confirmed with authoritarian power in Korean history. A parallax view on the relations between literature and theory is nothing other than the critical reading as the political, by which a reader as a critic gives rise to the new category of knowledge on the objectivity. In this sense, the difference among literature, theory and criticism are the very place in which the new vison of literary criticism would come to exist in its own right.

전지현과 여자 친구, 그리고 한국 사회의 욕망 지도

이택광 한국라깡과현대정신분석학회 2008 한국라깡과현대정신분석학회 학술발표대회 프로시딩 Vol.2008 No.-

디지털 영화의 논리: 찍기에서 그리기로

이택광 문학과영상학회 2009 문학과영상 Vol.10 No.3

The purpose of the article is to explore the logic of digital cinema by focusing on the introduction of computer technology into the process of film-making. Since Jurassic Park, a monumental computer-generated film directed by Steven Spielberg in 1993, Hollywood film-making industry has changed dramatically, and produced outstanding features of computer graphic technology such as performance EOG capture. The transformation of technology does not simply mean the modification of film style, but rather the reshaping of reality category. In this sense, the emergence of digital cinema marks the paradigm shift happening in cinematographic realism: from indexical realism to digital realism. From this perspective, I analyze the new trend found in the relationship between Hollywood genre movies and digital technology. Digital cinema reveals the logic of technology, the one that cinema form is adjusted by technical adaptation. Directors can easily realize their imagination with digital technology, and attempt to show what technology they use for their cinema—this is the very logic whereby digital cinema attracts audience. What the cinema does is to provide not only spectacular image but also the form of technology. The computer graphic image of actor, in other words, a digital actor replaces a live actor. Digital image acts like a live actor and takes over the positions of actors and actresses. This causes an interesting phenomenon that cinema goes back to the primitive history of film-making, the period that cinema is painting rather than indexical realism of an camera.

다문화주의를 넘어서 : Charles Taylor와 Slavoj Žižek의 이론을 중심으로

이택광 국제언어인문학회 2011 인문언어 Vol.13 No.1

The essay explores Charles Taylor's and Slavoj Žižek's theories of multiculturalism, and attempts to suggest the alternative to multicultural ideas dominated in the Western societies. Firstly, the essay examines Taylor's consideration of multiculturalism, in particular, his argument on the relationship between recognition and cultural communication based on language in general. Taylor regards language in a broad sense as a cultural code system by which one can recognize his or herself in the process of communication with the other. What Taylor seems to put an emphasis on is that the idea of multiculturalism is the very telos inscribed in the development of modern states as well as of the individuals. Taylor points out the beginning of modernization and the birth of authenticity as the category of immanent morality. Through the authenticity, that is, the category of morality, the individual could find the original self. From this perspective, the doctrine of Herderian nationalism came to exist in its own right. Different from Taylor's viewpoint, Žižek criticizes multiculturalism as an ideology suppressing the singularities of ethnic groups. Multiculturalism serves as the discursive justification of racial hierarchy in the society by preserving a cultural and political distance from immigrants. Like a Chinese lunchbox, such an ideological set-up operates with the logic of assimilation, even though multiculturalism openly asserts itself as the alternative to the assimilating policies. Discussing the difference between Taylor and Žižek, the essay concludes that an attempt to go beyond multiculturalism is the way in which one can create a world that comes into the singularities without unitotality forced by the globalizing worldlessness.