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      인공적 자율성에 기반한 예술 작품 연구- 사이버네틱스와 발생 예술을 중심으로 - = A Study of Artworks based on Artificial Autonomy Focussing on Cybernetics and Generative Arts

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      https://www.riss.kr/link?id=A105987024

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      다국어 초록 (Multilingual Abstract)

      From past and present, artificiality in art is regarded as a character which have a distance of fine arts. These streams are found when art-form collaborated with new technology like photograph and cinema appeared in the recent world. It is because there is an ideology that purity of art comes from not artificiality but in nature. Especailly, in visual art, have formed the dichotomous structure of ‘natural object–artificial representation’ as a history of representation through image. In the past, photograph is neglected from category of art by reason of generative image made in artificial technology without human subject’s gaze and cinema also has been recognized as an artificial technology like magic which dazzles us. Of course, this classification define artificiality of technology in instrumental character became a small part of appreciation. In other words, artificial- technological media as a form of constituting and making artworks is was recognized but this is not a certification of art about artificiality. Artificiality in the art scene is still secondary character and appreciated as a instrument. But in these days, the fact that artificiality generate intelligence, life, memory and awareness which are regarded as human-subject’s own traits became a starting point for the discussion in the arts. The problem is that artificial intelligence try to replace and beyond human’s own area and it can be a meaningful point in the art scenes. This study try to analyze how artificial program will appear in the art scene and from this point approach radical element of artificial autonomy. Also main purpose of this study is understanding the implicit meaning of artificial autonomy and the fact that it can be involved institution and elements of memory like a human-being.
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      From past and present, artificiality in art is regarded as a character which have a distance of fine arts. These streams are found when art-form collaborated with new technology like photograph and cinema appeared in the recent world. It is because th...

      From past and present, artificiality in art is regarded as a character which have a distance of fine arts. These streams are found when art-form collaborated with new technology like photograph and cinema appeared in the recent world. It is because there is an ideology that purity of art comes from not artificiality but in nature. Especailly, in visual art, have formed the dichotomous structure of ‘natural object–artificial representation’ as a history of representation through image. In the past, photograph is neglected from category of art by reason of generative image made in artificial technology without human subject’s gaze and cinema also has been recognized as an artificial technology like magic which dazzles us. Of course, this classification define artificiality of technology in instrumental character became a small part of appreciation. In other words, artificial- technological media as a form of constituting and making artworks is was recognized but this is not a certification of art about artificiality. Artificiality in the art scene is still secondary character and appreciated as a instrument. But in these days, the fact that artificiality generate intelligence, life, memory and awareness which are regarded as human-subject’s own traits became a starting point for the discussion in the arts. The problem is that artificial intelligence try to replace and beyond human’s own area and it can be a meaningful point in the art scenes. This study try to analyze how artificial program will appear in the art scene and from this point approach radical element of artificial autonomy. Also main purpose of this study is understanding the implicit meaning of artificial autonomy and the fact that it can be involved institution and elements of memory like a human-being.

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      참고문헌 (Reference)

      1 가와노 히로시, "컴퓨터 예술의 탄생" 휴머니스트 96-, 2008

      2 송영진, "직관과 사유 - 베르그송의 인식론 연구(2)" 한국동서철학회 (32) : 21-44, 2004

      3 자크 데리다, "에코그라피" 민음사 19-20, 2002

      4 프랑크 하르트만, "미디어철학" 북코리아 19-21, 2008

      5 브루스 클라크, "미디어비평용어 21 Critical Terms for Meids Studies" 미진사 203-, 2015

      6 "미디어문화예술채널 앨리스온"

      7 레프 마노비치, "뉴미디어의 언어" 생각의 나무 61-71, 2004

      8 질베르트 시몽동, "기술적 대상들의 존재 양식에 대하여" 그린비 177-, 2011

      9 Gely P. Basharin, "The Life and Work of A. A. Markov" 3-, 2003

      10 Norbert Wiener, "The Human Use of Human Beings : Cybernetics and Society" Houghton-Mifflin 15-, 1950

      1 가와노 히로시, "컴퓨터 예술의 탄생" 휴머니스트 96-, 2008

      2 송영진, "직관과 사유 - 베르그송의 인식론 연구(2)" 한국동서철학회 (32) : 21-44, 2004

      3 자크 데리다, "에코그라피" 민음사 19-20, 2002

      4 프랑크 하르트만, "미디어철학" 북코리아 19-21, 2008

      5 브루스 클라크, "미디어비평용어 21 Critical Terms for Meids Studies" 미진사 203-, 2015

      6 "미디어문화예술채널 앨리스온"

      7 레프 마노비치, "뉴미디어의 언어" 생각의 나무 61-71, 2004

      8 질베르트 시몽동, "기술적 대상들의 존재 양식에 대하여" 그린비 177-, 2011

      9 Gely P. Basharin, "The Life and Work of A. A. Markov" 3-, 2003

      10 Norbert Wiener, "The Human Use of Human Beings : Cybernetics and Society" Houghton-Mifflin 15-, 1950

      11 Guang-Dah Chen, "The History and Evolution of Kinetic Art" 5 (5): 922-, 2015

      12 Bernard Stiegler, "Techniques and Time, Vol.1" Stanford University Press 152-153, 1998

      13 Harold Cohen, "Parallel to Perception: Some Notes on the Problem of Machine-Generated Art" 4 (4): 1-, 1973

      14 Henri Bergson, "La pensée et le mouvant" P.U.F. 205-, 1969

      15 "Institution beats ingenuity at last"

      16 "Information art from Wikipedia, the free encyclopedia"

      17 Stephen Wilson, "Information Arts" MIT Press 3-, 2002

      18 N. Katherine Hales, "How we became Posthuman" The University of Chicago Press 2-3, 1999

      19 Eduardo Kac, "Foundation and Development of Robotic Art" College Art Association 56 (56): 61-62, 1997

      20 J. de Rosnay, "Discipline which studies regulations and communication in the living beings and the man-built machines" 93 : 1975

      21 Norbert Wiener, "Cybernetics, or Control and Communication in the Animal and the Machine" MIT Press 1948

      22 Max Bense, "Cybernetics, art and ideas" Studio Vista 4-5, 1971

      23 Ahmed Elgammal, "CAN: Creative Adversarial Networks Generating “Art” by Learning About Styles and Deviating from Style Norms" 1-2, 2017

      24 Ernst Cassirer, "An Essay on Man" Yale University Press 26-, 1944

      25 "AI Creates Art That Critics Can’t Distinguish From Human-Created Work"

      26 "AI Can Now Produce Better Art Than Humans. Here’s How"

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2026 평가예정 재인증평가 신청대상 (재인증)
      2022-03-24 학술지명변경 한글명 : 문화와 융합 -> 문화와융합 KCI등재
      2022-03-16 학회명변경 영문명 : The Korean Society of Culture and Convergence -> The Society of Korean Culture and Convergence KCI등재
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2017-01-01 평가 등재학술지 선정 (계속평가) KCI등재
      2015-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
      2014-03-04 학회명변경 한글명 : 문학과언어학회 -> 한국문화융합학회
      영문명 : Munhak Kwa Eoneo Hakhoi -> The Korean Society of Culture and Convergence
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0 0 0
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0 0 0 0.13
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