디지털시대에서 예술작품과 그 위상 - 창조와 제작의 딜레마
Works of Art and it's Phase in the Digital Age - A Dilemma of Creation and Manufacture
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Is a work of art created or manufactured? This question might be undesirable to many artists. But it seems to be right to say ‘manufactured' rather than ‘created’, because of the evolution of media technology, and the change of stream of media. As the direction of the criticism of art work has moved toward to ‘manufacture', the work of art is not a object of the appreciation and possession of upper class, but a object of public amusement and consumption. In this article, we will reconsider the position of a work of art, which, indeed, should have been deconstructed and secularized by the use of the word of ‘manufacture' and consumption', through the examination of brilliant assertions of two scholars (Vilem Flusser and Jean Baudrillard) who emphasize the manufacturing technology and consumption rather than creation. At this point, it seems that we are facing two following questions: firstly, nowadays, is it possible to regard the work of art as the creation of 'absolute' and 'eternity'?; secondly, how should we accept the problem of the manufacturing technology and consumption? and how far? Of course, here, I gave a criticism on the second question. This is because it is difficult to agree to Flusser's idea that the work of art is just an accidental product by the dispersion and combination of data, and Baudrillard's assertion that the work of art is nothing but objects, which are, in other words, mass producted and mass consumed goods. It could be right to say that even if the idea of creation has been weakened by the idea of manufacture, their assertions in terms of the technology cannot be sufficient to persuade people. Namely, albeit no matter how science and technology and capitalism are dominated world wide, the Aura of the artwork cannot be destructed or disappeared within a day. Since Benjamin, in the contemporary art theory, there has been told the crisis of art. However, as Arendt's pointed, until now the Aura of the artwork aims to “the common world for all (monde commun à tous)", an disshared in the world (espace public). That space is the exact space of the meaning which has been pursued by artists or authors, and is the “space loved (espaces aimés)" by publics. Thus, for this “space of happiness (espaces heureux)" that is inspired to people, artists serve.
Abstract
Is a work of art created or manufactured? This question might be undesirable to many artists. But it seems to be right to say ‘manufactured' rather than ‘created’, because of the evolution of media technology, and the change of stream of media. As the direction of the criticism of art work has moved toward to ‘manufacture', the work of art is not a object of the appreciation and possession of upper class, but a object of public amusement and consumption. In this article, we will reconsider the position of a work of art, which, indeed, should have been deconstructed and secularized by the use of the word of ‘manufacture' and consumption', through the examination of brilliant assertions of two scholars (Vilem Flusser and Jean Baudrillard) who emphasize the manufacturing technology and consumption rather than creation. At this point, it seems that we are facing two following questions: firstly, nowadays, is it possible to regard the work of art as the creation of 'absolute' and 'eternity'?; secondly, how should we accept the problem of the manufacturing technology and consumption? and how far? Of course, here, I gave a criticism on the second question. This is because it is difficult to agree to Flusser's idea that the work of art is just an accidental product by the dispersion and combination of data, and Baudrillard's assertion that the work of art is nothing but objects, which are, in other words, mass producted and mass consumed goods. It could be right to say that even if the idea of creation has been weakened by the idea of manufacture, their assertions in terms of the technology cannot be sufficient to persuade people. Namely, albeit no matter how science and technology and capitalism are dominated world wide, the Aura of the artwork cannot be destructed or disappeared within a day. Since Benjamin, in the contemporary art theory, there has been told the crisis of art. However, as Arendt's pointed, until now the Aura of the artwork aims to “the common world for all (monde commun à tous)", an disshared in the world (espace public). That space is the exact space of the meaning which has been pursued by artists or authors, and is the “space loved (espaces aimés)" by publics. Thus, for this “space of happiness (espaces heureux)" that is inspired to people, artists serve.
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