현대미술 표현방식의 테크놀로지 활용에 관한 연구 : 비디오아트를 中心으로 = (The) Study on the Technology on Expression Areas of the Modern Art

다국어 초록 (Multilingual Abstract)

Post-modem society at the end of the 20C is the information oriented society utilizing the media. Supply of TV and personal computer caused the times of high technology, and the effect of such social changes, for the art, suggest a shift to the high technology art overstepping the kinetic art that uses simple power or light.
Therefore, modern informational innovation in society is has opened up an age of high technology. Fine arts also have going in various direction. Accepting technology plays an important role in these changes. It is inevitable that informational innovation led by digital media such as computer networks and video have a major role in modern arts. Especially, video has opened the possibility of artistic communication as a medium of mutual artistic communication and has developed into a genre of art. Video is one of expression viewed from this prospective.
This work seeks as a goal to fine a new artistic possibility for the object of video art, which extended from connection between technological skill and fine arts. combination of video and technology has been easily attracting people's interests compare to other genres in extending area of modern arts and media of video arts already become popularized.
This studies, specially, analyzed artistic meaning of video arts through Pack, Nam June's video arts. As generalizing existed traditional arts and Pack, Nam June's art works and video media, I tried to analyze meaning derived from the difference. If artists in the past regards as a creator, artists in the modern society experiments a new media and carries out social function in speaking of informational society. At this prospect, possibly media of video is method of various expression.
The following conclusions can be drawn regarding artistic meaning of video art.
First, it is simultaneously beyond time and space. Video has special ability to dismantle space of time, time of space spatial arts and time arts combine the two in complex media.
Second, it's self regarding arts at narcissism point of view. Spectators and artists can share same feeling through television monitor spectators with mirror effect that video contains.
Third, as artists and art works and spectators establish a straight line relationship and video media becomes one subject, they can communicate one anther. In other word, it leads spectators into participation and in the end, it derives media arts that combines public arts.
Now video arts changes relationship between existed works and artists and establish mobile relationship among works, artists and spectators. thus, anymore classification is useless and distance and scope of time and space for works are condensed. Further, it becomes a moment of grafting various up-to-date technology. At this point, video arts goes its direction into extending mind system of arts more in combining world of human belief and mechanical media derived from development of multi media. the activity of arts, which words on lifes newly formed give us power for overcoming material determinism of post capitalism. video arts, which is stage of art from for new aspect for high sensitive culture and ground work for experimental mine toward more creative and positive future.

목차 (Table of Contents)

• 목차 = ⅰ
• 圖版目錄 = ⅲ
• ABSTRACT = ⅴ
• Ⅰ. 序論 = 1
• 1. 연구목적 = 2
• 2. 연구방법 = 2
• Ⅱ. 현대의 테크놀로지의 성립 = 4
• 1. 현대의 테크놀로지의 개념 = 4
• 2. 현대미술에 따른 테크놀로지의 흐름 = 7
• 1) 미래주의 (Futurism) = 7
• 2) 구성주의 (Constructivism) = 9
• 3) 순수주의 (Purism) = 10
• 4) 다다이즘 (Dadaism) = 11
• 3. 하이테크놀로지아트의 발전 = 13
• 1) 키네틱 아트 (Kinetic Art) = 13
• 2) 실험미술 (EAT ; Experiments in Art and Technology) = 15
• Ⅲ. 하이테크놀로지아트 전개 = 17
• 1. 비디오아트 = 17
• 1) 비디오 아트의 특성 = 18
• 2) 비디오 아트의 분류 = 22
• (1) 비디오 테이프 (Video Tape) = 22
• (2) 비디오 조각과 설치 미술 = 24
• (3) 비디오 행위예술 (Video Performance, 行爲藝術) = 25
• 2. 비디오 아트에 나타난 미학적 특성 = 26
• 1) 동시성 = 26
• 2) 나르시시즘 (반영성) = 27
• 3) 상호텍스트성과 참여 = 28
• 3. 매체적 특성 = 28
• 4. 백남준의 비디오 아트 = 32
• 1) 백남준의 비디오 아트 개요 = 32
• 2) 백남준 비디오 아트의 미학적 분석 = 34
• (1) 시·공간성의 초월 = 34
• (2) 나르시시즘 = 36
• (3) 작가와 관객의 상호텍스성과 관객의 참여 = 39
• (4) 물질과 정신의 소통 = 42
• (5) 예술의 인간화 / 신체화 = 44
• 3) 백남준 비디오 아트에 대한 분석의 정리 = 45
• 5. 빌 비올라 (Bill Viola) = 46
• 1) 빌 비올라의 비디오 아트 개요 = 46
• 2) 빌 비올라의 작품분석 = 49
• 6. 디지털시대 비디오 아트의 양상들 = 55
• 1) 디지털시대의 미술 특징 = 56
• 2) 디지털시대 비디오 아트의 확장 = 58
• 3) 비디오 프로젝과 디지털 합성 = 60
• 4) 대안 매체로서의 인터넷 = 61
• Ⅴ. 結論 = 65
• 參考圖版 = 68
• 參考文獻 = 78