디지털 아트에서 패러디의 유희성 연구

다국어 초록 (Multilingual Abstract)

we live on the period of various media. Vast amount of information and images are exchanged on-line and interchanged globally in real time. According to the development of science and media, this cultural phenomenon of contemporary have changed. Vast amount of images and information are spread through computer. Social Network Service grows rapidly according to the pattern of developing media. Social Network Service means ‘social connection’ which makes users form personal network on web. Humans want to achieve the desire for positive need than physiological need as personal computers come into wide use. Human beings want to satisfy the highly difficult desires and this activity grows into personal desire for aesthetic expression. Therefore, development of media becomes means of satisfying the need of the general public and freedom of expression become a right of not experts but them. The base making these changes accelerate is development of digital media. Fine art has continued until now, but artists work by using computer as well as painting. Artists can distort, transform, modify and edit by using various software programs. Furthermore, digital media works which stimulate an audience’s five senses were produced by expanding media into displayed space. In this way, diversification of expressive technique and expansion of art field change depending on progress of media.
This thesis attempts to determine factors of ‘play instinct through deconstruction originality’ in digital art which is representative product of developing scientific technique. Deconstruction of originality means two ways, ‘structural approach’ and ‘formal approach’. The former means conception of duplication society and the latter means parody aspect. In this thesis, it was attempted to handle the parody aspect intensively. ‘Deconstruction’ is very important conception enough to say that it forms the origin of contemporary arts. Especially ‘parody’ is deconstruction󰠏oriented representative technique of postmodernism. Moreover, it provides amusement by deconstruction of originality. These days, the word ‘Digital Homo Ludens’ came on. It refers to ‘Homo Ludens’ through digital media.
Like this, progress of digital media makes the play instinct of human change. Thus determining the play instinct in ‘parody’ which is representative technique of digital media will be meaningful work. Therefore, this thesis was attempted to determine factors of the play instinct by dividing them into two things- external factors and internal factors of the works. Furthermore, the factors were studied by categorizing external factors and internal factors into ‘social, cultural, psychological factors’ and ‘virtual reality, interactive art of participatory module’. For this, each factors were analyzed by adducing the works which originality is deconstructed in. Through this I want to determine factors of the play instinct of contemporary.

목차 (Table of Contents)

• 목 차
• Ⅰ. 서론...............................................................................1
• 1. 연구의 목적....................................................................1
• 2. 연구의 범위 및 방법 ........................................................4
• Ⅱ. 이론적 배경....................................................................6
• 1. 디지털 아트의 개념.........................................................6
• 1) 디지털 아트의 개념.......................................................6
• (1) 디지털 아트란............................................................6
• (2) 도구로서의 디지털 기술..............................................9
• (3) 매개로서의 디지털 기술............................................15
• 가. 설치미술................................................................15
• 나. 영상 및 애니메이션 작업.........................................19
• 2. 디지털아트의 성립과 전개............................................20
• 3. 디지털시대에서 Originality의 해체: 매커니즘적(구조적) 접 근.....................................................................................24
• 1) Originality의 해체에 대한 미학적 고찰.........................24
• (1) 발터 벤야민의 매체 미술.........................................24
• (2) 쟝보드리야르의 매체이론........................................26
• 4. 디지털 아트에서 Originality의 해체: 형식적 접근...........28
• 1) Originality의 개념.....................................................28
• 2) 패러디의 개념과 배경................................................32
• Ⅲ. 디지털아트에서 Originality의 해체와 유희성 요인..........36
• 1. 유희성의 개념............................................................36
• 2. 디지털아트의 종류와 유희요인....................................38
• 1) web-art..................................................................38
• 2) game-art...............................................................43
• 3) digital painting.......................................................52
• 3. Originality의 해체에 따른 유희성 요인.........................57
• 1) 작품外적 요인.........................................................57
• (1) 사회․문화적 요인.................................................57
• (2) 심리적 요인........................................................62
• 2) 작품內적 요인........................................................75
• (1) 가상현실의 구현.................................................75
• (2) 참여적 모듈의 인터렉티브 아트(Interactive Art)....79
• Ⅳ. 결론.......................................................................84
• 참고문헌......................................................................87