디지털 생태계에서 미학의 가능성 (A Possibility of Aesthetics in the Digital Eco-systems)

서지정보

· 발행기관 : 한국미학예술학회
· 수록지 정보 : 미학예술학연구 / 28권 / 85 ~ 114페이지
· 저자명 : 이재준

초록

In this era, digital technology is pervaded in our everyday-life-world by the different new media-machines out of professional technological domain, and vice versa. This inter-pervasion has more and more depth and complexity for the two characteristics of digital technology: the increasement of interaction between users and digital machines, and the ongoing multi-layered networking of the human-machine interaction. The standpoint of digital eco-systems is realized from this digital techno- cultural phenomena. The biological eco-systems are the systems of the relation between living individuals and their environment. The digital eco-systems are the complex and emergent self-organized systems that constructed from the continuous and random interactions of lower layered digital individuals. H. Maturana and F. J. Varela has called the operation of these systems ‘the autopoietic’, and this standpoint is supported by 1980’s artificial life research.
The human-machine interaction in the digital eco-systems has two main principles: ‘operative closure’ and ‘structural coupling’. On these account, the interaction shows the unique forms: an aesthetic interaction based on perception. In 20th century, Water Benjamin’s media aesthetic
theory and McLuhanian media ecology has explained the importance of the aesthetic human-machine interaction. Recently, Norbert Bolz and Wolfgang Welsch has insisted that aesthetics might be theory of aisthesis, not a theory of art.
Accordingly, the aesthetics of digital eco-systems investigates a aesthetic self-organized phenomena emerged from interactions of living organisms and digital individuals. The radical constructionists has called these the empirical-constructive aesthetic. The artificial life art and the social network systems art have illustrated the critical interpretation of these phenomena.

영어초록

In this era, digital technology is pervaded in our everyday-life-world by the different new media-machines out of professional technological domain, and vice versa. This inter-pervasion has more and more depth and complexity for the two characteristics of digital technology: the increasement of interaction between users and digital machines, and the ongoing multi-layered networking of the human-machine interaction. The standpoint of digital eco-systems is realized from this digital techno- cultural phenomena. The biological eco-systems are the systems of the relation between living individuals and their environment. The digital eco-systems are the complex and emergent self-organized systems that constructed from the continuous and random interactions of lower layered digital individuals. H. Maturana and F. J. Varela has called the operation of these systems ‘the autopoietic’, and this standpoint is supported by 1980’s artificial life research.
The human-machine interaction in the digital eco-systems has two main principles: ‘operative closure’ and ‘structural coupling’. On these account, the interaction shows the unique forms: an aesthetic interaction based on perception. In 20th century, Water Benjamin’s media aesthetic
theory and McLuhanian media ecology has explained the importance of the aesthetic human-machine interaction. Recently, Norbert Bolz and Wolfgang Welsch has insisted that aesthetics might be theory of aisthesis, not a theory of art.
Accordingly, the aesthetics of digital eco-systems investigates a aesthetic self-organized phenomena emerged from interactions of living organisms and digital individuals. The radical constructionists has called these the empirical-constructive aesthetic. The artificial life art and the social network systems art have illustrated the critical interpretation of these phenomena.

참고자료

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