빌렘 플루서의 매체미학: 기술이미지와 사진

박상우 ( Sang Woo Park ) 한국미학예술학회 2015 미학예술학연구 Vol.44 No.-

This paper attempted to make a critical analysis of Vilem Flusser``s idea of technical image and photographical image. By doing so, it tried to develop the discussion about the ontology of technical image and to search for a more critical method. The conclusion can be summarized as follows: First, by taking the position of the image maker rather than of the spectator, Flusser stresses more on the production process of technical image than on its reception process. His position on image criticism is very significant because he points out the importance of analysis of image production process, which has been rather neglected in image criticism. Second, Flusser says that the main subject who contributes to producing a technical image is not human being but an apparatus or technology. He indicates that the analysis of an apparatus is a key point in the criticism of technical image, because the trace of an apparatus exists necessarily in all technical images. Third, he insists that to determine the meaning of technical image is not only the production apparatus(camera), but also the diffusion apparatus(media). This is very significant because the factor of the media has been nearly neglected in image criticism. Lastly, Flusser``s image theory is concerned not only with image criticism, but also with cultural criticism and criticism on human existence. Although Flusser``s image theory has major significance like this, I can``t agree his point that technical image refers only to the concept. I think that technical image indicates not only concept but also world, precisely light. Technical image is the result of merging program concepts with light reflected from the world. So the protagonists of technical image are not only the four ones that Flusser refers to ― camera apparatus, human being, media, spectator ― but also the world or reference. Otherwise, we lose all the human history under the visible form of a technical image, photo history, film history, visual communication history, etc. Technical image is the complex space in which operator, apparatus``s parameter, spectrum, diffuser and spectator intersect. To criticise this technical image is to be conscious of these five protagonists and to disentangle those mixed relations.

새로운 교육매체로서 영상 미디어의 본성에 대한 교육철학적 고찰 : 빌렘 플루서의 ‘기술이미지’ 개념을 중심으로

이진호 ( Lee Jinho ),곽덕주 ( Kwak Duck-joo ) 한국교육철학학회 2020 교육철학연구 Vol.42 No.4

The paper aims at investigating the nature of visual media as ‘codes’ rather than ‘media’, proposed by Vilem Flusser. It begins by problematizing the current concept of ‘media literacy’ for its conceptual limitations to see if this investigation can provide us with a new way of viewing the media education in particular and education in general. To accomplish this purpose, it first examines the existential conditions of three different codes, the image, the text, and the technical image, which have historically developed one after another in this order. It shows that, while the image has a superficial and circulating structure of meanings as abstracted from the world, and the text a logical and lineal structure as abstracted from the image, the technical image has a structure of meaning as abstracted from the text where human intentions and the intention of the apparatuses are combined without any necessary connections between them. What is critical to the technical image as a code is an element of apparatus which has its own conceptual principle in creating the technical image, to which human intentions need to be adopted for their communication. Thus, in this post-industrial society in which the technical image is dominant, we are forced to live in a new form of existence as Homo Ludens. In this form of existence, we need to collaborate with apparatuses to express ourselves and communicate with others: being of a complex entity combined with an apparatus. In conclusion, it is proposed that media education needs to pursue for its educational aim fostering those who can encode and decode the technical images that young students tend to engage in their everyday life in the post-industrial society. This means that those well educated students are to be not only familiar with the code of technical images and apparatuses but also to be acquainted with the codes of the image and the text, given the existential condition of the technical image. We may also need to further explore the symbolic natures of the codes from the educational perspective to better accommodate educational practice through which three different codes of communication are to be fostered in balance in forming the minds of future generation in this post-industrial age.

수직적 브랜드확장 시 기술적 유사성에 따른 확장제품 평가에 대한 브랜드 이미지의 영향에 관한 연구

김화동 한국소비자·광고심리학회 2013 한국심리학회지 소비자·광고 Vol.14 No.3

In provided similarity of extension product and brand image influence on consumer evaluation of vertical brand extension products, viewing relevance theory of brand extension, this study conducted experimental research using real brand. Firstly, showing analyzed results about the effect of technical similarity of extension product on consumer evaluations of vertical brand extension, downward extension product is evaluated more high than upward extension product alike preceding research results in case of small technical similarity extension and is evaluated without difference between of upward and downward extension product in case of big technical similarity. Showing analyzed results about influence of brand image components on consumer evaluations of vertical brand extension according to technical similarity of extension products, in case of big technical similarity extension, upward extension product is influenced larger by functional image and downward extension product is influenced larger by experiential image and symbolic image. In case of small technical similarity extension, under being influenced commonly without difference by experiential image, upward extension product is influenced larger by symbolic image and downward extension product is influenced larger by functional image. This results show the fact that the influence of brand image on consumer evaluation is different according types of extension depending upon vertical extension and technical similarity. 본 연구는 수직적 브랜드확장의 경우에도 브랜드확장의 적합성 이론에 비추어 볼 때 모제품과 확장제품간의 유사성과 브랜드 이미지가 소비자의 확장제품 평가에 영향을 미칠 것이라는 가정 하에 실제 브랜드를 이용한 실험적 연구를 수행하였다. 우선 확장제품의 기술적 유사성이 수직적 확장 방향성에 따른 확장제품 평가에 미치는 효과에 대한 분석결과를 보면, 비유사 확장에서는 선행연구결과와 같이 상향적 제품보다는 하향적 제품이 더 높고, 유사 확장에서는 상향적 제품과 하향적 제품 간에 차이가 없는 것으로 확인되었다. 그리고 확장제품의 기술적 유사성 정도별 브랜드 이미지 요소들이 수직적 확장 방향성에 따른 확장제품 평가에 미치는 영향에 대한 분석결과를 보면, 확장제품의 기술적 유사성 정도에 따라 차이를 보이고 있는 것으로 확인되었다. 유사 확장의 경우에는 상향적 제품에서 제품의 물리적 특성에 의한 혜택과 관련된 기능적 이미지가 더 크게 영향을 주고 있고, 하향적 제품에서는 제품의 소비과정에서 지각하게 되는 경험과 관련된 경험적 이미지와 브랜드의 명성과 차별적 개성과 관련된 상징적 이미지가 더 크게 영향을 주고 있다. 비유사 확장의 경우에는 경험적 이미지는 차이없이 공통적으로 영향을 주고 있는 상황에서 상향적 제품에서는 브랜드의 명성과 차별적 개성과 관련된 상징적 이미지가 더 크게 영향을 주고 있고, 하향적 제품에서는 제품의 물리적 특성에 의한 혜택과 관련된 기능적 이미지가 더 크게 영향을 주고 있다. 이는 수직적 브랜드확장에서 브랜드 이미지가 영향을 주는 양상이 기술적 유사성 및 수직적 확장의 방향성에 따른 확장제품 유형에 따라 다르다는 사실을 보여주고 있다.

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.

메타시티에 저항하는 미디어의 윤리

김겸섭 ( Kyoum Sup Kim ) 대구가톨릭대학교 인문과학연구소 2012 인문과학연구 Vol.0 No.18

Vilem Flusser(1920∼1991) was, after Walter Benjamin and Marshall McLuhan etc., one of the most important media theorists of the late 20th century. He`s still not very well known in South Korea. But One may find him far more profound and rewarding than, say, Baudrillard or Virilio etc. 『Kommunikologie』is a brief and trenchant discussion of how medien and communicative ``Code`` is developed and digital Code serves as the prototype for a fully programmed, post-industrial, post-historical, informationcentric world. Flusser is less sentimental and melancholy than Paul Virilio. In his text, Flusser makes a distinction between traditonal images and technical images. Traditional images are first-degree abstractions, abstracted from the concrete world. Technical images are third-degree abstractions, since they are abstracted from texts that are abstracted from the concrete world. Rather than phenomena (traditional images), technical images refer to concepts. Flusser critiques the seemingly ``objective`` character of technological images. The technological image seems to be a nature-like representation of the concrete world. However, just like the traditional image, we are dealing with the perspective of the maker of the image. Flusser states that a ``new type of imagination`` is needed to interpret the technical image. An interesting argument is that with the technological image, we are involved in an ``abstract sort of witchcraft``, which tries to change our concepts of the world out there. But unlike other critics of the rule of simulacra, Flusser evidences no nostalgia. He has no Baudrillardian yearning for a real that would have supposedly existed prior to technological reproduction. And he explicitly criticizes the Frankfurt School, for the humanist nostalgia behind its attempts to unmask the [class] interests behind the apparatuses. Such approaches merely seek to reinstate the humanistic subject that photography and other post-industrial technical apparatuses have destroyed once and for all. For Flusser the only way out is the way through. A philosophy of medien must reveal the fact that there is no place for human freedom within the area of automated, programmed, and programming apparatuses, in order finally to show a way in which it is nevertheless possible to open up a space for freedom. It is only possible to invent a new practice of freedom, in other words, when we plumb technical programming (starting with photography, and moving on, today, to digital computing and communications) to the depths; when we take the full measure of what it has accomplished; when we give up our illusions of recovering a supposed pre-photographic, pre-technological mode of being. Whereas for Paul Virilio, the growth of technology separates us directly from the events of real space and real time. We lose wisdom, lose sight of our immediate horizon and resort to the indirect horizon of our dissimulated environment. From this persepective, the accident can be mentally pictured as a sort of fractal meteorite whose impact is prepared in the propitious darkness, a landscape of events concealing future collisions. His ``Dromology`` is important when considering the structuring of society in relation to warfare and modern media. His media theory is pessimistic. The theories of Flusser and Virilio are two faces of digital media. We had to develop a balanced theory and find alternative practices of new media in order to the digital democracy that is based on positive potential powers of them.

기술이미지, 디지털 사유, 디지털 패러다임 : 빌렘 플루서의 미디어 철학을 중심으로

박상우 ( Park Sangwoo ) 한국미학회 2021 미학(美學) Vol.87 No.1

This study aims to clarify the origin and characteristics of digital thinking, a new thinking structure of modern people, targeting numbers and technology images in Flusser's philosophy. Numerical thoughts (particle thoughts) are thoughts that decompose something into discontinuous elements and then gather these elements into a single mass. The numerical thoughts that were born in the modern era gradually move away from numbers and encode themselves into technical images. The technical image is an expression of numerical thoughts. Numerical thoughts, new imagination, and photographic view that characterize the new worldview in the post-industrial era converge into digital thoughts. Digital thinking was influenced by a variety of modern sciences, including quantum theory and neurophysiology. In digital thinking, this world is the result of the computation of particles not only in the material world, but also in the human mind and thought itself, which are the mental worlds. Since everything in the world is a group of particles, the existing distinction between reality and image, reality and fiction disappears. Everything is digital, and everything reaches a world of emptiness, nothing, and illusion. One way to overcome the empty and absurd world is to create a new technical image by recollecting the decomposed particles to human imagination.

빌렘 플루서의 ‘無 의미’를 통해 본 디지털사진의 푼크툼 연구

오철민 현대사진영상학회 2022 현대사진영상학회논문집 Vol.25 No.2

Flusser regards human history as the historical change in codes of images, texts, and technical images. He says, “decoding the meanings of technical image is jumping into the empty universe and will never been decipherable.” This study is intended to find the clues that he left in hope of their being decoded and consider how the meaning of empty universe is decoded through photography, the first technical image. First, photography is a device based on gaps. The nature of thinking in text that has a desire for “personal narrative” is inherent in technical image. Taking Wolfgang Iser, an aesthetician of reception, as an example, it can be said that a work is reified by filling up the gaps and indeterminate elements through “personal narrative” of the recipient. Second, the symbol used for classifying the history of codes by Flusser is divided into ‘a sign agreed upon’ and ‘a sign to be agreed upon’ according to the consideration on Peirce, a semiotician. Decoding ‘a sign agreed upon’ is available through unilateral acceptance while decoding ‘a sign to be agreed upon’ is available through “metonymy by recipients.” Third, following the texts by Flusser, the character of empty universe is defined as “to have infinite potential, possibility and inevitability, no unchanging truth or objective meaning.” Here Flusser himself says: “The value of truth in photography is meaningless. Probability calculation and indeterminacy are dominant.” Based on Flusser’s theory, classical photography and digital one have the same position in ontology. It was observed that their principles and processes of decoding are identical, and therefore, digital photography also owns studium and punctum. Conclusionally, it can be seen that decoding technical image, especially photography, derives from the recipient-oriented interpretation and the recognition of potentials of its infinite meaning.

빌렘 플루서의 ‘기술적 형상’을 통한 현대 건축의 미디어적 특성 연구

박서영,김동진 한국실내디자인학회 2018 한국실내디자인학회논문집 Vol.27 No.6

This study aims to derive the media characteristics of modern architecture. In the theoretical review, Vilém Flusser's "Technical Image" is used to understand the structure of media and to derive its characteristics. Flusser's Technical Image is an image containing information created by digital devices. An image is generated by the program and instrument-operator of the device and contains information. The image transmitted to the prisoner is information that can be interpreted by imagination and given different meaning to each prisoner. Based on this, I will investigate the relationship between Rem Koolhass, Ito Toyo and SANAA through the media structure of Flusser. Contemporary architects, who have been involved in the study, explain the work through the images they have created and give the audience a freedom, not a functional limit, to create a chapter where potential events can take place. In conclusion, media through technical image have the potential to generate network dialogue through non-material information, enable the audience to interpret themselves, and demonstrate the possibilities of various events. 본 연구는 현대 건축의 미디어적인 특성을 도출하는 데 목적이 있다. 이에 앞서 이론적 고찰로, 빌렘 플루서의 ‘기술적 형상’을 통해 미디어의 구조를 이해하고, 그 특징을 도출한다. 플루서의 기술적 형상은 디지털 장치를 통해 만들어진 정보가 담긴 이미지를 말한다. 장치의 프로그램과 기구-작동자에 의해 이미지는 생성되며 정보를 포함한다. 그리고 수용자에게 전달된 이미지는 상상력을 통해 스스로 해석이 가능하고 수용자마다 의미가 다르게 부여되는 정보다. 기술적 형상에 대한 의미를 정립하고, 이를 토대로 플루서의 미디어 구조를 통해 Rem Koolhass, Ito Doyo, SANAA, RCR의 작품과 어떤 상관관계가 있는지 살펴본다. 연구에 거론한 현대 건축가들은 그들이 만들어 놓은 이미지를 통해 작품을 설명하고 수용자에게 기능적 제한이 아니라 자유로움을 주어 잠재적 사건이 일어날 수 있는 장을 만든다. 결론적으로 기술적 형상을 통한 미디어는 비 물질인 정보를 통한 네트워크적 대화를 발생시키고, 수용자에게 스스로 해석을 가능하게 하며, 사태의 가능성을 보여주는 잠재성을 내포한다.

자기공명영상진단장치의 이용실태에 관한 조사연구

안상경,경광현,박기정,한상용,용군호,최종학 국립보건연구원 1992 국립보건원보 Vol.29 No.2

디지털 아트에서 사진의 활용 - 빌렘 플루서의 기술 이미지를 바탕으로

황민수,이용환 현대사진영상학회 2021 현대사진영상학회논문집 Vol.24 No.3

This study examines the use of photography in digital art based on the philosophy of Vilém Flusser. Photography in digital art has a different appearance from ordinary photography. Therefore new framework of theory is required to see this new images which move pixels by audiences or generating music. Vilém Flusser explained the technical image of modern society. He gave a warning that humans could falling under the control by devices of technical Image. In this situation, he found a little hope in the digital art field. Digital artists resist the automaticity of the device and create new results that the device maker did not expect. Flusser named ‘new Imagination’ for this phenomenon. In addition, they are not independent individuals, but jointly created a art work through communities. Therefore, digital art is an art that is completely different from the previous classical art and presents a new paradigm for a new era which called digital generation.