근대 시기의 사진기록에 나타난 한국 이미지의 정형성

박평종 ( Pyung Jong Park ) 한국사진학회 2009 AURA Vol.0 No.20

Before Japan`s colonial rule of Korea, most of the modern Korean images were produced by Westerners traveled to Korea after Korea`s opening a port. The westerners who kept account of their trip had have various occupations as geographer, folklorist, soldier, journalist, traveler and so on. However they stayed for only a short period from a week to a month. Therefore, it was difficult for them to keep a record of varied korean life of those times as royal family`s or women`s appearances, the life of the common people, traditional ceremonies, etc. As a result, they couldn`t help buying photos in the locale for using them to their needs. As travelers couldn`t take pictures of their needs, they purchased the locale photos and inserted them in their own travel books or magazines. Also, because of the fact that foreigners couldn`t access easily to the intimate korean life, the rare genre photographs which were regarded as emblematic of the korean life were highly marketable. Many travelers preferred to use these photographs and introduced them to the Occident. So these photographs became solid as an image of modern Korea to the Westerners.

다큐멘타리 형식과 워커 에반스의 현재성

박평종 ( Pyung Jong Park ) 한국사진학회 2005 AURA Vol.0 No.12

This study aims to explain the concept of documentary style formulated by Walker Evans and actual signification of Evans` s photographic work. According to Evans, documentary style consist of suppress all subjectivity of photograph, for show the object as such. However, this aim can not be realized really, because all photographic work said documentary imply necessarily a subjectivity of photograph as choice of object, point of vue, perspective, etc. So, the fact of suppress all subjectivity must be understood like method of approach object and photographic ethics. Therefore, the actual meaning of documentary style reside in this ethics which never faint.

신낙균선생 서거 50주년 기념 ; 신낙균의 사진관(寫眞觀) 연구

박평종 ( Pyung Jong Park ) 한국사진학회 2005 AURA Vol.0 No.13

투명한 형상, 모호한 형상

박평종 ( Pyung Jong Park ) 한국사진학회 2003 AURA Vol.0 No.10

Our study deals with the problem of the duality of the form. The form, from which any sensitive object is given to the vision, is just right what we see as the totality of the visible object. If we regard the form as sign in a broad sense, the form corresponds to the signifiant while its signification exactly indicates the signifie. The identification photo completes in its finality the identification of the real person with the person represented, the ultimate representation or the last, insofar as a representation consists in moving towards the perfect adequation between the represented and that of which it is the representation. However, if the identification photo is nothing but the form and this one replaces the represented and represents the real person, its signification is purely absent, because the form is not a signification. The identification photo is not in this sense the signification, but just the signifiant, that is, the signifiant without signifie. However, we admit that the absence of signifie does not indicate the absence of signification. The pure signification of the form lies on the other hand in the absence of signifie. The form of a work of art is distinguished from the one of the sign. Catching the intention of the artist and the signification of a work of art leads to the understanding of the signifie. But the pure dimension of aesthetical experience exceeds the comprehension of the signification. The aesthetical experience refers to a signification flying from the outside of the meaning and comes beyond the intelligence. The form of a work of art implies a signification in as much as it contacts with the vision, even the simplest form just like the identification photo. It is itself transparent without anything to hide behind it, but opaque in the visual experience. This opacity undoubtedly constitutes the source of signification and of the aesthetical experience, but it is founded on the pure form and its transparency.

폭력과 에로티시즘

박평종 ( Pyung Jong Park ) 한국사진학회 2006 AURA Vol.0 No.14

포스트 포토그래피의 지표 패러다임과 수정이론

박평종 ( Pyung-jong Park ) 한국미학예술학회 2017 미학예술학연구 Vol.51 No.-

This study aims to examine the main issues of photography regarding digital technology. If the photography in the analog era depends on the concept of `document`, `record`, `reel`, `trace`, etc., the photo in the digital era is explained by the concept of `simulacrum`, `fiction`, `virtuality`, etc. We know that these concepts are incompatibles. So, the photograph don`t have the classic position of trace of reel in the digital era so-called `post-photography`. Accordingly, main questions of theory of photography require a modification. The core is the theory of index that led the discussion about photography since 1980`. This theory was, in fact, predominant in the analog ara, but has a apparent limit. There is two viewpoints which admit this limit : the one accept partially the theory of index. According to this, digital photo is not different, `intrinsically`, from analog photo. The other that admit a fundamental difference of both sides call for revision of index paradigm. In principle, analog is continuous(resemblance), digital is discontinuous(difference). But, resemblance and difference are, ultimately, not sameness. That is inherent quality of all photographic image(analog, digital). The theory of index had a compulsive impulse to determine the specificity of photography. But, even if a photograph has some characteristic of index, it can not be identified to index. Rather it has various characteristic of image. Thus simulacrum of post-photography is not originally new. Therefore, we can suggest, according to the thought of Bazin, as follows : if the painting is liberated from compulsion of realism by the invention of photography, the photography is liberated from compulsion of index by digital technology.

인공지능 기반 이미지 생성 알고리즘과 사진

박평종 ( Pyung-jong Park ) 한국미학예술학회 2021 미학예술학연구 Vol.62 No.-

This article deals with how images produced using artificial intelligence-based algorithms differ from existing photography. A generative adversarial network (GAN) is an algorithm that calculates fake data through balanced learning of generators and discriminators. When using original photos as learning data, it creates images that are visually indistinguishable from photos. There are two issues raised by this. First, the algorithmic image cannot be called a photograph from the point of view of index theory, but it is no different from the existing digital photograph in that it creates a new image by changing the pixel value of the original photograph. Second, the algorithmic image is an advanced form of program automatism and human exclusion, which Vilem Flusser defined as the core of the technical image. Humans are excluded from the production process of the GAN algorithm image. In that sense, the generator of the GAN is a black box. As the automaticity of the program increases, humans do not control image production and become simple consumers. Therefore, it is time for humans to think about how to turn a black box called a program into a “transparent box.”

일제 시대의 살롱사진 형식이 해방 이후의 한국사진에 미친 영향

박평종 ( Pyung Jong Park ) 한국사진학회 2007 AURA Vol.0 No.16

``Salon Photography`` understood as salon picture indicate photographs distinguished by a pictorial effect, who were produced in 1930-1940`s in photographic salons. This word is understood as photographs that we have to avoid, because it depend to the principle of the painting. But some negative meaning attributed to this photograph is made by ``Realism Photography`` in 1950`s in Korea. In 1950`s, some korean photographers insist that korean photography after the Korean War have to represent accurately life of men and aspect of korean society. This leaning called ``realism of life`` is formed as a mainstream of 1950`s korean photography by a severe critic of salon picture. But, the position and meaning of korean salon picture in 1930-40`s was different from today. Some negative meaning of korean salon picture was made in 1950`s by korean realism photograph. But although korean realism photography criticized korean salon picture who neglected life of men and reality of the time, it is influenced by style of salon picture. Composition and constitution, dramatical effect that we can look in korean photograph in 1950`s prove that this realism didn`t have had his own style, and that it didn`t escape completely to the influence of salon picture.

인간과 기계의 협업 -기계미학의 쟁점들-

박평종 ( Park Pyung-jong ) 중앙대학교 인공지능인문학연구소 2018 인공지능인문학연구 Vol.1 No.-

This study explores artificial intelligence and creation, in terms of machine aesthetics. Artificial intelligence is evolving through machine learning, and producing artworks on its own. In fact, current artificial intelligence is widelyconsidered an “imitation machine” that learns and imitates past works, rather than being truly “creative machines.” Can such “imitation machine” works be considered artistic acts? According to the current art paradigm, only those who produce “creative” works are regarded as “authors.” An artwork is a product of creativity, not imitation. Whether customary or legal, imitations inherently oppose creation; they are not authentic works. Artificial intelligence produces artworks by algorithms and programs, and programs can be designed to produce something unpredictable. In other words, artificial intelligence can produce “creative” output. Furthermore, it is impossible to create something fundamentally new, given that all creative human activities involve the process of writing their own rules based on acquired knowledge. That is, “creativity” is not only a contradiction in itself but also a mythical concept. According to the current art paradigm, only humans can be considered “creative” authors. However, the concept of authorship is gradually expanding. The notion that artificial intelligence or programmers cannot be creators is challenged. The significance of the problem is less about the “subject” of creation than its “result.” A real program can be “post-gramme” rather than “pro-gramme.” We should consider the collaboration of humans and machines in the machine age. Humans have imitated machines, and machines have imitated humans. In the process, humans have extended beyond their corporealboundaries . Technology has always been the human’s extension. In that sense, it is an opportune time to revisit Foucault's question about authorship, and ask: “Qu’importe qui cree?”

마르셀 뒤샹과 사진

박평종(Park, Pyung jong) 더원미술세계 2019 더원미술세계 Vol.78 No.412