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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.12
- 수록면
- 163 - 183 (21page)
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초록· 키워드
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In ordinary sense, “cruelty” is a term describing visual and thematic characteristics of a certain art, but within a broader context, it can be considered as a notion related to the ontological structure or operative system of works of art. It refers to the radical, structural and representational order of art, and means a power that disturbs violently the entire system of representations in art. Thus it changes the whole configuration of the original symbolic order. In that sense, the notion of cruelty have served as one of major themes in recent philosophy and art criticism, and this essay is to understand it as an aesthetic notion referring particularly Georges Bataille' s writings, and finally consider it as a major characteristic of digital art.
The famous terms that Batailles suggested such as “Base materialism”, “Heterology”, “the Formless” are not really “concepts” since they all signify an attack on concepts, words, forms, and declassing(declassification) and make them into a lower degree. “the Formless” in particular is to discard all categorical and formal frontiers which allow abstract concepts to organize the reality and to cut into small units of meaning. It doesn' t produce another limits, forms, or meanings by means of destructing limits it practiced; its ultimate task is only to practice the cruelty itself excluding any possibility to reach whatever a final state is. Though it may seem to be paradoxical, the most important trait of the Formless is that it is never given or determined as a visually realized form. It is operated just as a pure and endless duration of repetitive and destructive movement; it is neither a static nor a wholly strange form which might be obtained as a final result of the destruction. Consequently, there is no final state or “typical form” of the Formless.
Digital art, based on computer technology, involves a destabilization of representational order to a considerable degree because the “morphing”, which is one of its major characteristics, makes a situation of endless fleeing from the possibility in which forms and symbolic orders might function. It is neither a distinct form nor its total absence, but a state of “Base materialism” and the Formless in which the opposition between the presence and the absence of form is neutralized and meanings become undecidable. By the term “Formless”, Bataille tells us that an attempt to completely undermine the regime of form and representation turns necessarily back to another state of order, so that such formlessness is an inevitable destiny for form and representation.
Digital art would involve the aesthetics of the Formless, cruelty, and transgression more than any other arts in the sense that it is an art of infinite plasticity, metamorphosis, and hybridization par excellence. Moreover, digital art involves a very subversive potentiality undermining the notions of “ism”, “style” or even “Œuvre” which are the most fundamental notions and methodological premises of traditional art history. All of these notions proceed from certain “formal resemblances”, but digital art involves an endless attack on alteration of these resemblances. It towards an “intermediary art” (Philippe Queau), a transgressive art that cuts across multiple forms and styles, an art that refuse the “stylistic frockcoat” if adapt Bataille' s expression.
For more than three decades, postmodern art historians and critics as Hubert Damisch, Rosalind Krauss and Yves-Alain Bois suggested radical criticisms about old theoretical premises of art history, employing semiotics and structural analysis as a new methodology of art history. And digital art would add a new important question on that realm of inquiry.
The famous terms that Batailles suggested such as “Base materialism”, “Heterology”, “the Formless” are not really “concepts” since they all signify an attack on concepts, words, forms, and declassing(declassification) and make them into a lower degree. “the Formless” in particular is to discard all categorical and formal frontiers which allow abstract concepts to organize the reality and to cut into small units of meaning. It doesn' t produce another limits, forms, or meanings by means of destructing limits it practiced; its ultimate task is only to practice the cruelty itself excluding any possibility to reach whatever a final state is. Though it may seem to be paradoxical, the most important trait of the Formless is that it is never given or determined as a visually realized form. It is operated just as a pure and endless duration of repetitive and destructive movement; it is neither a static nor a wholly strange form which might be obtained as a final result of the destruction. Consequently, there is no final state or “typical form” of the Formless.
Digital art, based on computer technology, involves a destabilization of representational order to a considerable degree because the “morphing”, which is one of its major characteristics, makes a situation of endless fleeing from the possibility in which forms and symbolic orders might function. It is neither a distinct form nor its total absence, but a state of “Base materialism” and the Formless in which the opposition between the presence and the absence of form is neutralized and meanings become undecidable. By the term “Formless”, Bataille tells us that an attempt to completely undermine the regime of form and representation turns necessarily back to another state of order, so that such formlessness is an inevitable destiny for form and representation.
Digital art would involve the aesthetics of the Formless, cruelty, and transgression more than any other arts in the sense that it is an art of infinite plasticity, metamorphosis, and hybridization par excellence. Moreover, digital art involves a very subversive potentiality undermining the notions of “ism”, “style” or even “Œuvre” which are the most fundamental notions and methodological premises of traditional art history. All of these notions proceed from certain “formal resemblances”, but digital art involves an endless attack on alteration of these resemblances. It towards an “intermediary art” (Philippe Queau), a transgressive art that cuts across multiple forms and styles, an art that refuse the “stylistic frockcoat” if adapt Bataille' s expression.
For more than three decades, postmodern art historians and critics as Hubert Damisch, Rosalind Krauss and Yves-Alain Bois suggested radical criticisms about old theoretical premises of art history, employing semiotics and structural analysis as a new methodology of art history. And digital art would add a new important question on that realm of inquiry.
목차
Ⅰ. 여는 말 : 잔혹 개념의 두가지 층위
Ⅱ. 형태에 대한 공격: ‘낮은 유물론’과 ‘비정형’
Ⅲ. ‘유추적 동화’로서의 디지털 이미지, 그리고 위반
Ⅳ. 맺는 말 : ‘순수한 잔혹’, 디지털 예술, 미술사
참고문헌
Abstract
「잔혹, 조르쥬 바타이유, 그리고 디지털예술」에 대한 질의 (조광석)
조광석 선생님의 질의에 대한 답변 (김원방)
참고문헌 (9)
참고문헌 신청
[학술지(정기간행물)] - / 1996 / L'informe : mode d'emploi
[학술지(정기간행물)] - / 1997 / Formless
[학술지(정기간행물)] - / 1998 / La technologie dans l'art: de la photographie la ralit virtuelle
[학술지(정기간행물)] - / 1995 / La ressemblance informe ou le gai savhoir visuel selon Georges Bataille
[학술지(정기간행물)] - / 1976 / Explorations in Cosmology
[학술지(정기간행물)] - / 1997 / Formless
[학술지(정기간행물)] - / 1998 / La technologie dans l'art: de la photographie la ralit virtuelle
[학술지(정기간행물)] - / 1995 / La ressemblance informe ou le gai savhoir visuel selon Georges Bataille
[학술지(정기간행물)] - / 1976 / Explorations in Cosmology
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