1950-60년대의 아마추어 사진단체와 사진담론의 지형

박평종 ( Park Pyungjong ) 한국사진학회 2016 AURA Vol.0 No.37

This study aims at explain the relation between amateur photographer’s clubs in 1950’-60’s and photographic discours. The culture of korean photography is developed with various photo clubs. Especially 1950’-60’s clubs were not only the subject which produced himself the discours of this period, but the avant-garde who practiced this discours through the photographic work. < Shinsunhoi >, founded in 1956 by Yi Hyungnok and several photographers, claimed a realism in photography. The realism that quest this amateur club was not different from Senghwaljuoi(meaning life + ism) maintained by Lim Eungshik, grand representative of an the other realism in 1950’s. This realism was a main discours in 1950’s distinguished from so-called ‘salon picture’ in Japanese colonial era. < Salon Ars > was an another amateur photo club founded by Yi Hyungnok, founder of Shinsunhoi, and several young photographers. This club claimed a plastic elements in realism. Their try introduced a new discours about modern photo in 1960’s korean photography. < Modern Photo Study Club > succeeded Salon Ars in 1961 for extend a possibility of plastic photo and realism. Various young photographers of this club held regular study meetings about modern photo and art theory, showed new and experimental photographic works. These three amateur photo clubs are important because they represent main discours of korean photography in 1950’-60’s. From realism to modern photo, they were subject and object of this discours.

한국사진의 리얼리즘과 모더니즘 - 작가의 등장과 사진 담론 -

박평종 ( Park Pyungjong ) 한국사진학회 2020 AURA Vol.0 No.44

In modern era of Korea, photography was mainly a means of portrait production, while the photographer remained in the role of a 'functional person' who operated a photo studio. Art photography was nothing more than an affair of talented amateurs, and the aesthetic achievement of photography was insignificant in the competition of amateurs who wanted to be recognized as ‘artists’ through competition awards. With the establishment of the “Photographic Division in National Exhibition of Art” by Korean Government, the so-called ‘photographer’ is produced largely, but their ‘artist status’ has not changed. The situation begins to change in which the Museums of Visual Arts accepts photographic works. This is in line with the phenomenon that photography rapidly enters contemporary art. 'Photographers' are now given the status of 'author', which stands for 'artist'. And the main discourse of Korean photographers has shifted the agenda according to the times and contexts. From 'art photography' during the Japanese colonial period to 'realism photography' after liberation, and to ‘modern photography’ after the liberation, there are various issues including 'photography as an arts' after entering the field of modern art. These discourses have always been formed around authors and their works.

기형 이미지 연구

박평종(Pyungjong Park) 현대미술사학회 2013 현대미술사연구 Vol.0 No.34

This study deals with cultural meaning of the “abnormal” and the “monster” analysing images of deformity. “Deformity” indicate all abnormal organism that have studied the general science like biology, medicine, embryology, etc. Etienne Geoffroy Saint-Hilaire and Isidore, his son, founded the teratology, providing fundamentals concepts on the abnormal and the monster. According to him, a deformity signifies the serious abnormal being among four abnormals types. In fact, the problem of “deformity” has been seriously studied in the sphere of the natural science, but not in the sphere of the human science, especially like esthetic, art history, etc. So, this study aims above all at introduce the question of deformity in the sphere of cultural history, and enrich objects of iconology which are materials of art history or history of photography. Medicals photographs producted in 19th century are very important from a point of view of teratology: images of deformity producted by picture were not corrects ; there are some fictional being among these images. But the photography rectified these errors. Henceforward fictional being was excluded from iconology of deformity.

프로그램(Program)에서 포스트그램(Postgram)으로

박평종(Pyungjong Park) 현대미술학회 2018 현대미술학 논문집 Vol.22 No.1

이 글은 빌렘 플루서의 ‘프로그램’ 개념에 대한 비판적 해석을 통해 ‘기술 이미지’와 인공지능의 근본 문제를 고찰해 보는 데 목적이 있다. 장치는 카메라를 비롯하여 CCTV, 컴퓨터, 인공지능 등 디지털 방식으로 작동하는 모든 정보 생산 수단을 통칭한다. 프로그램은 장치를 작동시키는 원리며, 장치의 궁극적 목표는 자동화에 있다. 이 과정에서 인간은 배제된다. 플루서는 프로그램에 맞서 인간의 의도를 관철시키기 위해 ‘비개연적인’ 정보를 산출해야 한다 고 주장한다. 이를 실천하는 ‘실험적인 사진가’들은 그 전위대다. 그러나 플루서의 주장대로라면 프로그램은 사전 문자여서 그에 따라 작동하는 장치로부터 새로운 정보를 생산한다는 것 은 이율배반이다. 따라서 프로그램은 ‘내재적으로’ 비개연적인 정보를 산출할 수 있어야 한다. 우선 ‘우연의 조합’을 통해 비개연적인 정보를 산출하도록 프로그래밍하는 것이 가능하다. 장치는 ‘본래’ 비개연적인 상황을 생산하기 위해 발명됐으므로 이는 장치의 내적 논리이기도 하다. 이렇게 산출된 정보는 포스트그램으로 불려야 한다. 프로그램은 ‘아직’ 존재하지 않는 문자지만 ‘언젠가는’ 필연적으로 산출될 문자여서 포스트그램과 한 쌍일 수밖에 없다. 그런 점에서 플루서는 프로그램 속에 내재하는 포스트그램을 보지 못했다. 포스트그램 없이 프로그램은 결코 자신의 ‘본래’ 목표였던 ‘비개연적인’ 문자, ‘예정된’ 그 문자를 산출할 수 없다. 결국 진정한 프로그램은 포스트그램이다. This study aims to examine the fundamental problem of ‘technical image’ and artificial intelligence through a critical interpretation of the concept of ‘program’ by Vilem Flusser. The program is the principle of operating the device, and the ultimate goal of the device is automation. In this process, humans are excluded. Flusser argues that it must produce ‘improbable’ information in order to uphold human intentions against the program. This calculated information should be called a postgram. The program is, namely, a pro-gram, it does not exist yet, but it has to be a pair with postgram because it will be produced anyway. In that sense, Flusser did not see the postgram embedded in the program. Without a postgram, a program can never produce its ‘original’ goal, ‘improbable’, ‘scheduled’. After all, the real program is postgram.

계산 이미지의 탄생 - 장치에서 알고리즘으로 -

박평종 ( Park Pyungjong ) 한국사진학회 2021 AURA Vol.0 No.46

This article deals with the changes triggered by artificial intelligence related to image production. The image originally started as a “manual image” drawn by human hands and then differentiated into a “technical image” produced by apparatus in the 19th century. Since then, with the development of image generation algorithms, the automaticity of image production has become more advanced. This generative model, represented by GAN, produces images only by 'calculation' based on probability and statistics. Currently, GAN is receiving the most attention in the field of computer vision, and it excels in various tasks such as creating high-resolution images, translating images, and compositing photos. GAN learns the original photos and creates an image similar to it, which goes beyond the limitations of apparatus such as human hands and cameras. This 'computational image' belongs to the category of 'technical image' in a broad sense, but differs from photography, the first technical image in that there is no indication object. In addition, the automaticity of the program, the nature of the apparatus, is accelerating the exclusion of humans from the image production process in an extreme form. As a result, humans cannot reflect their intentions in image production and are in a position to become a simple consumer of images.

기술매체 기반 미술의 근본문제 - 사진, 뉴미디어, AI -

박평종 ( Park Pyungjong ) 한국사진학회 2021 AURA Vol.- No.47

This article deals with the main issues of art based on technical media leading to photography, computer based new media, and AI. Photography, which was born as a technical medium in the 19th century, became an important axis of contemporary art by combining it with digital technology and computers that quickly spread in the late 20th century. The so-called “AI project,” which started in 1950s, was rapidly developing into the 21st century, and is encouraging the evolution of the technical medium. Digital technology and computer engines are now at the center of contemporary art. The direction of this change is clear. In other words, the automaticity of the program is becoming more advanced. Photography, the first technical medium, started with 'low-level automation', but through computers and new media, 'high-level automation', such as an AI engine, is rapidly progressing. In this process, the original intention of human beings who planned the program disappeared and only 'functional automatism' remained. This is why the criticism of the technical media should consider this issue of “self-exclusion” as an object of reflection.

인공지능과 생성예술

박평종(Park, Pyungjong) 현대미술학회 2024 현대미술학 논문집 Vol.28 No.1