19세기 실험사진과 자국의 미학
The Experimental Photograph in the 19th Century and the Aesthetics in a Track
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The photos in the early 19th century are not what was made in order for communication between the masses and group or for showing off own technical ability, but are related to experimental photo for just photographer's personal achievement and desire. In this case, the photographer's substantial intention is diverse. For example, when there was the experimental photo aiming at the recognition of the masses while emphasizing superiority and utility, there was also the experimental photo that is shown as the mental index on metaphysical message. Also, when there was the practically experimental photo that records and preserves the object, inversely, there was even experimental behavior in order to show the scene, which had been technically impossible at that time, while securing the artistic value in a picture. However, the intention at this time was the visual impression on such scene, rather than new technology familiar to us today. Ultimately, the right understanding about the experimental photos in the 19th century relies on the causal thing, namely, on photo-index, rather than on the result of image. At this time, photos are understood basically as the existential mark that secretly directs the photographer's intention from the sujet-operator viewpoint, not what explains any universal message from the sujet-spectrum viewpoint.
Abstract
The photos in the early 19th century are not what was made in order for communication between the masses and group or for showing off own technical ability, but are related to experimental photo for just photographer's personal achievement and desire. In this case, the photographer's substantial intention is diverse. For example, when there was the experimental photo aiming at the recognition of the masses while emphasizing superiority and utility, there was also the experimental photo that is shown as the mental index on metaphysical message. Also, when there was the practically experimental photo that records and preserves the object, inversely, there was even experimental behavior in order to show the scene, which had been technically impossible at that time, while securing the artistic value in a picture. However, the intention at this time was the visual impression on such scene, rather than new technology familiar to us today. Ultimately, the right understanding about the experimental photos in the 19th century relies on the causal thing, namely, on photo-index, rather than on the result of image. At this time, photos are understood basically as the existential mark that secretly directs the photographer's intention from the sujet-operator viewpoint, not what explains any universal message from the sujet-spectrum viewpoint.
참고문헌 (21)
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