20세기 초‘지각 Wahrnehmung’의 등장 양상에 관한 연구 - 벤야민, 아도르노, 크라카우어를 중심으로 -

Abstract

What the aesthetic deals with media that the object is eventually understood as a pure perception. McLuhan's proposition, "All media is the expansion of a specific human structure even though it is psychological or physical" is not different from the meaning which the object and the subject of art has discussed with the perception. The wave of media conversion triggered in the 21st century by the digital media is that the aesthetic radiates from the concept of the perception. We can notice the reinstatement of the perception from the theories in the 20th century. When the visual media including a film overwhelmed the written media, the theorists in the early 20th century have begun to analyze and depict it. As the collapse of an aura in contexts of the aesthetic in Walter Benjamin regards dispersal(Zerstreuung) with embrace, the way of public embrace is an aesthetic considered as a distinct in modern art. Adorno criticized that the fragmental, dispersal aesthetic experience atomizes the spectators' perception. Kracauer discussed that the experience in modern society and public culture is not a matter of denial or affirmation, but it contains the both matter, because it has a power to seize a reality. One of his central concepts, 'surface' contains the outside and inside and does not distort, even though it is not deep. As this paper analyzes how accepts the new media on a changed prospect in the early 20th century, it makes sure that the concept of perception can be positioned as a keyword at the center of aesthetic.