1990년대 이후 미디어 설치예술에서 나타나는 스크린의 표면배치와 관객성의 관계 = 더그 에이트킨<SUP>Doug Aitken</SUP>, 타시타 딘<SUP>Tacita Dean</SUP>을 중심으로

다국어 초록 (Multilingual Abstract)

This paper examines operation of work and relation with spectator which demonstrate in Electric Earth (1999) of Doug Aitken and Film (2011) of Tacita Dean. Doug Aitken seeks to develop the self as constituting a whole with the other. Besides, the artist is asking the question to the meaning. In other words, his work is coming down to a surface. It is the one that operates as a surface. Tacita Dean expresses the world of analog. She regards analog with the shelter of life. It is analog and the shelter of life that designate the sphere of surface. In my reading of the two works, I have attempted to explore the elements of surface as movement, time, “figure(in Gilles Deleuze’s theory)” and event. Figure is a fundamental factor which operates surface as generating time. Figure enters into relation of nonrelation as going around surface and encountering other figure and meaning. The relation of nonrelation unfolds connection, conjunction and disjunction. Also, Operation of connection, conjunction and disjunction are concluded in figure again. The works of Doug Aitken and Tacita Dean eventually are Figure. Each works as figure encounters spectator again. In the last chapter, my paper argues the way figure and spectator enter into relation of nonrelation. Figure attracts spectator. Spectator encounters figure. Spectator stops consciousness and operators its body. Spectator desires outside beyond the self. It is here that thought begins. The birth of spectatorship is appearance of thoughtful spectator.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 들뢰즈의 ‘형상’과 스크린의 표면-배치
• Ⅲ. 에이트킨과 딘 : 운동과 시간, 형상과 사건의 표면-배치
• Ⅳ. 표면-배치와 관객성의 관계
• Ⅴ. 결론
• 참고문헌
• Abstract