장치 개념과 이미지 이론의 확장: 플루서와 아감벤의 접점을 중심으로

조선령 ( Seon Ryeong Cho ) 한국미학예술학회 2015 미학예술학연구 Vol.45 No.-

In an effort to construct the theory of the ‘apparatus-image’ or ‘image-apparatus’ in the light of aesthetics in general which deals with contemporary images such as photography and moving image, I reviewed Vilem Flusser``s theory of technical images. Then I referred to Giorgio Agamben``s theory of apparatus in order to overcome Flusser``s theoretical drawbacks and expand the significance. Flusser``s creativity lies in his argument that technical images are not secondary imitation of outer world, but abstractly constructed results of apparatus``s inner universe. However, Flusser``s theory cannot avoid a dilemma because he sees just extrinsic confrontation between human being and apparatus, and could not explain the possibility of human``s freedom under the sway of apparatus. I disclosed the converging point between Flusser and Agamben in terms of their common interests and common spheres of researches. Agamben``s notion that apparatus captures life to produce subjectivity can help resolve Flusser``s theoretical dilemma and expand his vision. But the comparison between Flusser and Agamben is not my ultimate purpose. My intention is to suggest a possible theory of the ‘image-apparatus’. It would be a discipline to focus on the connection among images, apparatus, subjectivities, and powers. This new field of study would explore contemporary issues related to technical images which traditional aesthetics could not have handled.

‘이미지 읽기 시대’(读图时代)의 문화 상황과 ‘문자-이미지’의 관계 정립을 위한 소고

박민호(Park, Min Ho) 한국중어중문학회 2017 中語中文學 Vol.0 No.69

This study investigates the desirable relationship between ‘character’ and ‘image’ by looking at the debate that occurred in China in 2000’s with the concept of ‘image reading age’. This paper mainly deals with the debates on ‘commerciality’ and ‘popularity’ of ‘image reading age’ and the history of ‘image’ as media among the discussions in China. As critics of the concept of ‘image reading age’ pointed out, it was a concept that clearly emerged from commercial intentions and flowed into the academic realm. However, ‘image reading age’ is an era that exists extensively, and it is necessary to be seriously treated academically to establish a new relationship between ‘character’ and ‘image’. I think it is necessary to criticize the nature of the global capitalist ideology implied by today’s ‘cultural commercialization’ trend, but it is not right to put the stigma of commercialism solely on the ‘image’ media. On the other hand, the attempt to grasp the media of ‘image’ historically helps to understand the nature of ‘image reading age’. This study examined the related debates generated in China through Vilém Flusser’s media theory. Vilém Flusser saw today’s ‘technical image’ as an abstraction of text of characters. Accordingly, since the text is already embedded in the ‘technical image’, it has different characteristics from the images of the pre-modern era. In addition, Vilém Flusser builds a theory that criticizes modernist performancism and efficiencism ideology by associating ‘technical image’ with ‘play’. This theory of Vilém Flusser helps to recognize that the relationship between letters and images is not unequal, but a relationship that requires harmony.

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.

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.

현대사회의 디자인과 커뮤니케이션 매체와의 상호작용 - 빌렘 플루서의 이론을 중심으로 -

고선정 ( Ko Sun-jung ) 한국디자인트렌드학회 2014 한국디자인포럼 Vol.45 No.-

Since the 16th century, the emergence of the modern society and the boundary between fine art and applied art started to collapse due to the Industrial Revolution after the 19th century. Through the Avant-garde Movement and Bauhaus, Deutscher Werkbund, art has penetrated deeply into every day life. Moreover, modernism design of geometrical shapes expanded human perception with the combination of technology. The revolution of new communication took place with combination of art and technology in cyberspace due to `Technobilder (technical images)` and `Technocodes`. After then, through modern society`s design and communication media, art culture has evolved and the way humans communicate has become vigorous and active. Currently, with design has presented aesthetic experience and information delivery / offering / storage / distribution while communicating this as a code of life`s certain process. Design within the new medium of the internet has changed the aspects of realities existence. This study can be creditive to Vilem Flusser`s media theory, where research of design and digital media`s reciprocated advancements are evident. Through Flusser`s historical viewpoint and coding of technical images (Technobilder), a new viewpoint through design has been aesthetically legitimized. Therefore, the design through media can give birth to a creative and the infinite possibilities of art. It should prove valuable as an art medium for the development of human communication.

피상성과 유령성의 접면: 디지털 표면성과 비가시적 존재의 구성 조건 - 빌렘 플루서와 자크 데리다를 중심으로

조희래 ( Hee Rae ) 단국대학교 한국문화기술연구소 2026 한국문화기술 Vol.40 No.0

This study examines the conditions under which existence, temporality, and perception are constituted in the digital image environment by articulating the conceptual interface between Vilem Flusser’s notion of superficiality and Jacques Derrida’s hauntology. Rather than juxtaposing these concepts as independent theoretical frameworks, this paper argues that they address the same ontological condition from different levels. Flusser analyzes how the world is configured through surface, form, and media under digital technical images, while Derrida reveals how existence operates through traces, differance, and temporal disjunction beyond the metaphysics of presence. Through this articulation, the study demonstrates that digital images do not merely signify a loss of depth or reality. Instead, they disclose a condition in which existence is no longer grounded in stable presence but is constituted through surface-bound traces and non-synchronous temporality. Building on this analysis, the paper proposes the concept of ghostly superficiality, defined as a condition in which existence is not guaranteed by hidden essence or complete presence, but emerges on the surface through traces, delay, and invisible gazes. From this perspective, perception is reconfigured not as the act of capturing objects, but as a responsive engagement within an already constituted field shaped by medial surfaces. Ultimately, this study suggests that digital images should be understood not as deceptive illusions but as aesthetic manifestations of contemporary ontological conditions, offering a critical framework for rethinking existence and perception in digital culture.

디지털 시대, `기술적 상상`을 통해 형상화된 한글의 공공 - 소통 양상과 가치

윤인선 ( Yoon In-sun ) 한국기호학회 2016 기호학연구 Vol.49 No.-

This thesis study about public-communication and techno-imagination of Hangeul suggested by Vilem Flusser. For this, we analysis the communication of Hangeul using `text-code` in public-space and the figuration of Hangeul using `techno-code` in new media platform of public-space. Through it, we aim to find on possible about new cultural contents of Hangeul in the digital age. So, we think about possible of Hangul using `imaginational-text` by technic-figuration and using `receiver participation` by program of technic-figuration. Through this study, we argue Hangeul has practical value by receiver participation and artistic value by imaginational-text beyond convey message. This shows on possible about `playing letter` not `communicating letter` by interpreting of imaginational-text and participating of receiver.

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.

디지털시대에서 예술작품과 그 위상 : 창조와 제작의 딜레마

박치완(PARK Tchi-Wan) 韓國世界文學比較學會 2010 세계문학비교연구 Vol.32 No.-

Is a work of art created or manufactured? This question might be undesirable to many artists. But it seems to be right to say ‘manufactured' rather than ‘created’, because of the evolution of media technology, and the change of stream of media. As the direction of the criticism of art work has moved toward to ‘manufacture', the work of art is not a object of the appreciation and possession of upper class, but a object of public amusement and consumption. In this article, we will reconsider the position of a work of art, which, indeed, should have been deconstructed and secularized by the use of the word of ‘manufacture' and consumption', through the examination of brilliant assertions of two scholars (Vilem Flusser and Jean Baudrillard) who emphasize the manufacturing technology and consumption rather than creation. At this point, it seems that we are facing two following questions: firstly, nowadays, is it possible to regard the work of art as the creation of 'absolute' and 'eternity'?; secondly, how should we accept the problem of the manufacturing technology and consumption? and how far? Of course, here, I gave a criticism on the second question. This is because it is difficult to agree to Flusser's idea that the work of art is just an accidental product by the dispersion and combination of data, and Baudrillard's assertion that the work of art is nothing but objects, which are, in other words, mass producted and mass consumed goods. It could be right to say that even if the idea of creation has been weakened by the idea of manufacture, their assertions in terms of the technology cannot be sufficient to persuade people. Namely, albeit no matter how science and technology and capitalism are dominated world wide, the Aura of the artwork cannot be destructed or disappeared within a day. Since Benjamin, in the contemporary art theory, there has been told the crisis of art. However, as Arendt's pointed, until now the Aura of the artwork aims to “the common world for all (monde commun ? tous)", an disshared in the world (espace public). That space is the exact space of the meaning which has been pursued by artists or authors, and is the “space loved (espaces aim?s)" by publics. Thus, for this “space of happiness (espaces heureux)" that is inspired to people, artists serve.

생성형 인공지능을 활용한 사진적 이미지의 창작과 예술적 가능성

정현목(JUNG Hyunmok) 현대·예술·사진학회 2024 모멘텀 Vol.- No.4

This study focuses on two key questions raised among various artistic debates since the emergence of generative artificial intelligence. First, can AI-generated photographic images be regarded as equivalent to traditional photographs? Second, do these AI-generated photographic images possess artistic potential? To explore these questions, the study employs the following approaches. First, it uses Vilém Flusser's concept of technical images to compare and analyze the differences between traditional photographs and AI-generated photographic images. Second, it critically examines the artistic potential of photographic images produced by generative artificial intelligence through a case study of the exhibitionAutonomy Hierarchy, which was presented by the author in August 2023. This study explores the artistic value and possibilities of AI-generated photographic images and predicts their potential impact on photographic art.