스크린을 예술적 수단, tool로 볼 것인가 아니면 그를 통해 어떠한 예술적 경험을 구현해 내는 인터페이스 interface 내지 조건 condition, 혹은 공간 space으로 볼 것인가
(매개적 대상으로서/ 예술적 경험의 대상 혹은 그 경험 그 자체로서)
스크린이 예술적 대상물로서 인식되어 비평적으로 그리고 매체 미학적으로 논의되거나 접근되어야 할 필요성
사이 in-between의 존재/ 경계적 boundary 대상으로서 개념화
스크린은 예술적 ‘대상’이자 동시에 예술적 경험을 창조하고 전달하는 ‘과정’으로서 인식
감성에 대한 개념 및 특징 + 미디어 아트에서 아날로그적 감성이 표현될 수 있는 가능성을 고찰
미디어아트 인터렉티브 설치 작품을 제작하고, 작품의 의미와 제작 방법 등을 기술
감성 sensibility, 정서 emotion, 감정 affection
감성: 인체의 감각기관에 의하여 감지된 외부의 자극에 대하여 인체가 느끼는 복합감정, 순간적이고 반사적 reflective, 직관적 intuitive
디지털은 0, 1의 이진법적 조합으로 표현되기 때문에 정확하고 빠르지만, 인간의 깊고 섬세한 모든 면을 그대로 전달하는데 한계가 있다. 차갑고 정보가 파편적이고 분산적으로 쪼개어 짐, 빠른 발전 속도의 압박감, 인간관계 단절되어지는 현상, 스스로 생각하고 기억하는 능력 상실 ‘디지털 치매’
아날로그 감성: 디지털 사회가 갖고 있지 못했던 것에 대한 현대적 해석과 내적 가치라고 이해할 수 있다
디지털의 ‘단절된’ 이진법이 아닌 ‘연속’의 개념
‘따뜻’하며 감정적 emotional, 주관적 subjective
오늘 날 공학 및 디자인 등 여러 감성 심리를 이용하기 위해 감성의 객관화에 대한 여러 노력: bio sensors to retrieve the data of emotions
(감성공학)-’인간의 감성을 정량, 정성적으로 측정하고 과학적으로 분석, 평가하여 이를 제품이나 환경의 실제에 적극 응용하여 보다 안락하고 인간의 삶을 쾌적하게 하고자 하는 기술’, 감성을 평가하고 이에 대한 시스템을 구축하는 프로세스로 진행
대니얼 챈들러는 ‘아날로그-디지털의 구분은 흔히 ‘자연’ 대 ‘인공’의 관계로 묘사된다’
‘계산된’ 디지털 커뮤니케이션과 달리 ‘의도하지 않은’ 의미의 아날로그 커뮤니케이션 (자연스러움, 있는 그대로의 모습)
Eliasson- 유사 자연, 설치물- 일차적으로 낭만주의의 전통에서 찾을 수 있는 자연에 대한 감성적인 반응을 불러일으킴, 우리가 날씨와 같은 자연을 지각하고 경험하는 데에 여러 사회 문화적 효과들이 개입한다는 것을 작업의 전제로 삼고 있다. 어디서나 존재하는 가장 일상적인 지각 행위 → fudo*
Frayling’s conducting research through design
Interaction design research- stresses design artifacts as outcomes that can transform the world from its current state to a preferred state
Design thinking-.=> investigation to gain multiple perspectives on a problem; ideation—generation of many possible different solutions; iteration—cyclical process of refining concept with increasing fidelity; and reflection (2)
‘The atmosphere and biosphere are part of a larger meta system of energy exchange: the weather is felt as a local, direct and immediate phenomenon’ 138
‘I define weather through movement, a change in the air that is felt by a participant.’ 140
Gernot Bohme-> ‘atmospheres constitute the ‘in-between’ of environmental qualities and human sensibilities ‘ 140
‘Medium of perception’ 141
‘Scenographic weather considers the aesthetic reception of the medium of air in performance as an affective experience’ 141
‘Account for the ecology of participant and environment through movement’ 141
‘Cycling of scenographic materials, body and air’ 141
‘seeks to account for the ecology of participant and environment through movement (...) as a cycling of scenographic materials, body and air’, 141
‘Mutual reciprocity between body and environment - specifically through multi-sensory experience of the air as medium’ 154
Absorption
‘Compassion’ - ‘experiencing with, whether it takes the form of sharing another’s sorrow, joy, mourning together, or partaking in communal celebration’
‘Compassionate connection expands outwards to form an even larger body, through a joining of the welfare, desires and abilities of others’
‘A compassionate concern is a way of opening up to the world; absorption is an extension of compassion, a being ‘open through an aesthetic sensitivity to things’ 155
‘Experience of bidirectional incorporation; the world come alive empathetically within my body, even as I experience myself as part of the body of the world’ (Leader 1990: 166).
Shearing proposed a ‘Compassionate absorption’ to express the expansive reception of scenography ‘ 156
‘the practitioner’ => action which follows reflection, or reflection which follows action / research is a practice, writing is a practice, doing science is a practice, doing design is a practice, making art is a practice
research into art and design
research through art and design
research for art and design
Hovering presences/ Atmosphere appears uncontrollable, emergent and not engineered
Phenomenological impact on sensory perception and also ethical perspective (5)
John Cage, Lecture on the weather
‘Atmospherically orchestrated stenographies as audible-visceral environments’
‘Are shared, taken in-‘
‘Make us dwell in a shared circle of continuous community’
‘Corporeal dimension of felt environment infused ‘
‘Permeated by boundless, ephemeral and undefined materiality, the flows and ‘imaginary landscapes’’ (6)
Like the weather, atmospheres change all the time’’ / Atmosphere in space - becomes a reality machine’ (Qtd in Borch 2015: 93)
‘After Walter Benjamin’s thoughts on the loss of aura in the age of technical reproducibility, was could one add to his memorable analysis … ?’ -> adding on to his original ideas
Scenographies- > ‘they learn how to fly or make us imagine that we fly on the same aerial currents that animate the kites of the ~ ‘
Tomas Saraceno’s Biospheres
Olafur Eliasson’s Mediated Motion or The Weather Project
-lighting, cooler, air, liquidity of materials
Sound artist- Finnish group: WEATHER STATION
John Cage’s aleatory concept of music as weather
German stage designer, Katrin Brack’s use of fog, foam, snow
-> making the fog a performer, requiring the actors to improvise with the material spatial atmosphere, the ‘weather’ conditions as they evolved and changed, hovering, drifting
‘The production of such atmospheric-acratic conditioning through design, with the phenomenological impact on sensory perception and also ethical perspective’
‘Like the weather, atmospheres change all the time and that’s what makes the concept so important. An atmosphere cannot be an autonomous state; it cannot be in standstill, frozen. Atmospheres are productive, they are active agents. When you introduce atmosphere into a space, it becomes a reality machine’ -(Qrd in Porch 2015: 93).
‘dense involvement of the subject in an interactive and inter-affective context that entangles thinking, feeling, and acting’
performance installations-creating fictional worlds actualised in large scale site-specific environments
immersion-> unfolds as a result of finding oneself embedded in an affective arrangement (232)
“to merge” / provides a way of overcoming a static subject-object divide
x one-directional absorption or submersion of someone into something but “mutual transformation of both” — yinyang
“Each individual enters into an immersive interplay of affecting and being affected in situ, which produces a degree of immediacy beyond fictionality and technical mediation” (235)
An affect theroetical approach to immersion-> immersion opens up new forms of feeling, acting, and embodiment that could be transformative for subjectivity (236)
feedback process between the individual’s disposition and the enironment’s affective stimuli
‘we find ourselves as an element in the “mutual relaitonship”—in “climate”
“the climate is, therefore, not only a physical space in which live human beings who are primarily “mutual relationship”, but also a metaphysical space which conditions a priori the realisation of the self as such a “mutual relationship”. The phenomena of climate are, therefore, nothing but a manifestation of the self as “we”” (47)
Fudo (climate) = “primordial space” of human beings
Fudo-sei (function of climate or climaticity) being a mode of appearance of the “subjective spatiality”
ningen (人間) - minimum unit of ningen is not an individual, it is a “betweenness” or a “mutual relationship” /implies spatiality
-individuals and the whole are united as one in their reciprocal negations — they exist simultaneously. their existence x static, it’s dynamic
True reality of an individual, as well as of totality, is “emptiness” 空 , and this emptiness is the absolute totality
: by evoking the “emptiness”, we arrive at the essence of human existence which is a “mutual relationship”
-> it is only accessible by expression, cannot be an object of observation itself
expressions of subjective human existence—intersubjective space—”phenomena of climate”
the invisible (the primordial space) functioning as a subject (concrete spaces and place like home, land, cultural essets)
fudo with tangible climatic, scenic and topographical characteristics
inter-personal dimension of fudo / spatiality of human being
the intertwined state between physical natural phenomena and humanity (590)
”Agent by which human life is objectified, and it is here that man comprehends himself; there is self-discovery”
A climatic phenomena- pervasive, embracing different indiv. within the same atmosphere
X something that can be objectified , rather it formulates a context in which different indiv. are located and embraced
“the self is not the heroic and indifferent subject who centers on an ego to measure the world at the outside, but the self as the capacity to be imbued by the efficacy of the climatic phenomenon”/ emptiness (592)
reciprocity, mutual-dependence and co-origination
self-discovery through fudo is never private but collective
‘reveals an inseparable link between natural phenomena and the dimension of “we” or the ethics of the inter-personal’
inter-personal mediated through climatic phenomena
‘엄마 없다? 엄마 있네! 어찌 보면 그게 우리 인생의 전부.’ (58)
‘엄마 있네’의 확신이 없으면 인생에 바람구멍이 뚫려버리죠. 가장 가까운 타자가 시야에서 사라져도 영영 떠난 게 아니라는 믿음, 그 믿음이 인생에서 얼마나 소중한지,’
엄마가 없는 쪽에다 힘을 싣느냐, 있는 쪽에 힘을 싣느냐에 따라 인생이 달라져. 해피 엔딩으로 볼 수도 영원한 헤이짐으로도 볼 수도
‘있다, 없다’ 까꿍놀이가 결국 문학이고 종교야.’
죽음 앞의 인간- 필립 아리에스
'현대는 죽음이 죽어버린 시대'
진실의 반댓말= 망각, 덮어버리고 잊어버리는 것
운명론 (82) 있는 힘껏 노력하고 지혜를 끓어 모아도 안 되는게 있다는 걸 받아들이는 것 / 운명을 받아들이는 것. 이 세상에 운명 아닌 것은 없다
결정된 운이 7이면 내 몫의 3 (인간의 자유의지)
모든것이 갖춰진 에덴동산에서 선악과를 따먹는 행위
인간이 노력할 수 있는 세계에 운을 끌어들이면 안돼 (86)
‘비논리’에 저항할 수 있어야 ‘자유인’ (105) 법은 진리 x 내일 바뀔 수 도, 지역에 따라 다른 법
‘남이 도와줘서 없어질 외로움이 아니야, 그런 자발적 유폐 속에 시가 나오고 창조가 나오고 정의가 나온다’ (108)
‘작더라도 바람개비처럼 자기가 움직일 수 있는 자기만의 동력을 가지도록’
큰 얘기는 ‘사람이 태어나서 죽었다’가 전부.- 디테일 속에 진실이 있다. / 문제를 일반화하지(generalise) 말고 구체화 (specify)
갈라진 선로 위 고장 난 전차 이야기-
가혹해도 케이스를 파고든다- 처음에 쉽게 결정했던 일반론이 정답이 아닐 수 있다. 그걸 깨닫기 위한 case study
감추고 싶은 인간의 욕망을 광장으로 끌어내 노출시키는 사람, 일그러진 자기 얼굴을 직면하는 예술가
삶이 사소하면 사고한대로 비루하면 비루한대로 정직하게 기록하는 인간 (124) 솔직성
진선미 vs 과학
인간이 참인가 거짓인가 -생각을 다루는 인지론 (진)
인간이 착한가 악한가 -행동을 다루는 행위론 (선)
아름다움과 추함 -표현을 다루는 (미) (135)
예술 vs 인간이 만물의 척도를 배제하는 과학
아름다운 쿠데타 - 밤 사이 내린 첫눈 - 눈뜨면 달라진 세상 (144) / '낯설게 하기'
목적이 있으면 걷는게 되고 목적이 없으면 인생은 춤
일상이 수단이 아니고 일상이 목적이 되는 것
'스토리텔링을 얼마나 갖고 있느냐'
죽음은 신나게 놀고 있는데 엄마가 '얘야, 밥 먹어라' 하는 것
'구하라 그리하면 주실 것이다'
길을 잃어도 영영 미아가 되지 않을 거라는 믿음, 그 거친 길에서 내 손으로 따먹는 열매, 그 열매에서 맛보는 목자의 은혜와 마침내 성숙한 탕자로 돌아올 집이 있다는 안식
자기만의 무늬 (179) '자기다움'의 세계
'이 대화가 노동이 될래 예술이 될래? 책 나와보면 알겠지 자네가 노동한 건지 예술 한 건지
우주에서 선물로 받은 이 생명처럼, 내가 내 힘으로 이뤘다고 생각한게 다 선물이더라고 (231)
Virtual images radically transformed the twentieth century understanding of reality (4)
A "windowed" multiplicity of perspectives implies new laws of "presence" -not only here and there, but also then and now-a multiple view-sometimes enhanced, sometimes diminished-out the window.
As computers “users”, we spend hours immobile in front of the flat, multicapable, framed virtual space of the computer screen. The frame becomes the threshold -the liminal site- of tensions between the immobility of a spectator/viewer/user and the mobility of images seen through the mediated “windows” of film, television, and computer screens.
The virtual is a substitute-“acting without agency of matter”-an immaterial proxy for the material (8)
“Virtual” refers to the register of representation of itself-but representation that can be either simulacral(image has no referent of the real) or directly mimetic.
The window is like a painting (it frames an opening onto the world) and the painting is like a window (as a technique to construct perspective, the painter should frame the view) (12)
formula for perspectival painting that entails (1)variable rectangular frame (2) the window as a metaphor for the frame of the painting (3) the “subject” that is seen through this frame (4) the human figure as a standard of measure and as determinant of the “centric point” and (5)the immobility of the viewer (27)
“flat plane of representation” (30)
The human was in a central position as a spectator in front of a pictorial world but was also the measure of that world. The painter’s position was also to be the position of the viewer, framing and delimiting the image (35)
The window was a membrane between inside and outside, and light was the material that modulated this relation (111)
glass is the only material in the building industry which expresses surface and space at the same time (119)
“Transparency means simultaneous perception of different spatial locations”
Duchamp’s Fresh Widow
Going to the cinema results in an immobilisation of the body. Not much gets in the way of one’s perception. All one can do is look and listen. One forgets where one is sitting. The luminous screen spreads a murky light throughout the darkness. Making a film in one thing, viewing a film another. Impassive, mute, still, the viewer sits. -Robert Smithson “A Cinematic Utopia” (149)
Light could carry images, light could draw in space (152)
In architectural terms, the window brought light into a darkened interior. But the window left its images outside, framed for the view. As glass began to replace opaque construction materials in the nineteenth century, a new transparency was added to public buildings.
Screen film- neither absolutely two-dimensional nor absolutely three dimensional, but something between. (154)
The screen may contain shifting camera angles, a montage of spaces and times, but the spectator does not move. Arnheim measured the film's dimensionality as a liminal mode of virtual space, "something between".
by Dorrestijn, Steven
the telos of an ethics of technical mediation is ‘to establish interactions and fusions with technologies in such a way that they are experienced as one’s own, not obstructing but becoming part of one’s experience and performance of freedom and agency’
I will extend Foucault’s ethics of technical mediation and philosophy of subjectivation – the process of becoming a subject – to encompass spatial telematic communication.
by Zhoufei Wang
‘a pre-reflective sphere in which human situation and external conditions are corporeally brought together… pervaded by a specific emotional quality’
Eye gaze at a close distance
Cognitive load
Effect of mirroring
Reduced mobility
The ubiquitous efficacy of the telematic medium is not in doubt (with flowing data information) , but the question in human terms, from the point of view of culture and creativity, is => 'What is the Content?
“Meaning is the product of interaction between the observer and the system, the content of which is in a state of flux, of endless change and transformation” (241)
“at the interface to telematic systems, content is created rather than received. By the same token, content is disposed of at the interface by reinserting it, transformed by the process of interaction, back into the network for storage, distribution, and eventual transformation at the interface of other users, at other access nodes across the planet” (243)
Active negotiation rather than passive reception
Telematic culture means that we do not think, see, or feel in isolation. Creativity is shared, authorship is distributed
computer at the heart of this telematic system- works best when least noticed , when is invisible like the heart
“content” of a telematic art depend on the nature of the interface—configurations and assemblies of image, sound, and text, the kind of restructuring and articulation of environment that telematic interactivity might yield, / determined by the freedoms and fluidity available at the interface (243)
The nature of interface- Freedoms and fluidity available at the interface
An environment, an arena of data space in which a distributed art of the human/computer symbiosis can be acted out
= “holomatic” principle in networking
”holistic potentiality of telematic art / more than a technological expedient for the interchange of information, networking provides the very infrastructure for spiritual interchange that could lead to the harmonization and creative development of the whole planet” (247)
telematic process is the produce of a profound human desire for transcendence: to be out of body, out of mind, beyond language
very ease of transition from “reality” to “virtuality” cause confusion in culture, in values, and in matters of personal identity=> it’s the role of the artist in collaboration with scientists to establish new value systems, new ordinances of human interaction and social communicability
I am very aware of the preciousness of time. Seize the moment. Act now. (5)
I think the universe was spontaneously created out of nothing, according to the laws of science - 우연의 일치로 시작된 세상, 만물의 덧없음을 이로 보여주는 듯 하다
insignificant and accidental human life in the universe
Energy and space spontaneously invented in an event called the Big Bang
At the moment of the big bang, the entire universe came into existence, and with it space.
You can get a while universe for free (31)
Negative energy- when the big bang produxed a massive positive energy, simultaneously produced the same amount of negative energy,that sums up to zero 음과 양
-동양 사상에서는 어떻게 음양 개념이 생겨났는지 알아보면 재밌을듯
If they add up to nothing, the zero, then.. all the things happening are illusion? 무에서 무, 과학 논리와 종교/동양적 철학에 연결지어 볼 점들이 많다
Space is a vast storage of negative energy
Matter and energy are the positive side of things
The observation that the sky at night is dark- implies that the universe cannot have existed forever
Vast collection of stars- in order for them to appear so small and faint, the distances had to be so great that light from them would have taken millions or billions of years to reach us. (46)
the universe is expanding : the universe might have started with everything being at tbe same point in space (47)
'The concept of time only exists within our universe'
'edges of space and time' (54)
No boundary proposal- the assumption that there are many histories in imaginary time and each of them will determine a history in real time (55)
M-theory space has ten dimensions: seven nearly invisible/ Space like a drinking straw- the surface of a drinking straw is two-dimensional and one direction is curled up into a small circle, so in distancenis looks like a one-dimensional line. (57)
Big Crunch- eventually it will stop expanding and start falling towards each other - after twenty billion years
DNA evolution and darwinian natural selection
Today- intellectual evolution due to external record in books(79)
결국에는 모든 순간들이 다 우연의 lucky chance로 생겨났다는 말로 귀결되는 것 같다, everything from the uncertain beginning- our origin to unpredictable future to come is only by chance..