현대미술에서의 디지털매체연구

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In this thesis, a study was conducted on the motivation for the emergence of digital media and its development in the field of fine arts from the emergence of video art up to now. Digital media have been rapidly developed with their countless merits in most fields leaving analog factors behind, and nearly all fields have digitalized today. It can be said that the use of digital media(such as computer as a representative example) reflects a world view and social situations of this age and technological and aesthetic environment.
Unlike sequential method of analog, digital mode divides all information such as image, sound, letters and smells into bits composed of "0" and "1" and transmits them in continuous flows of two codes. Such encountered cases where many digital artists were damaged by blind digital information is prominently characterized by perfect duplicability, instant accessibility, and manipulability.
On the other hand, digital art has dangers that it can indiscreetly follow only function-originated access to media and their technical effects. In addition, although digital information interacts with each other through the Internet, some people do not open up to people staying only on the cyber space. While showing unlimited access and duplicability, it can be filled with only recreational representation and operational simulation. Under the empty network and flood of information, the masses suffer from aphasia and the essential meaning of objects is lost, which is a paradox and deep shades of digital media environment. In addition to this, software and hardware which can implement most artistic functions have required high technical knowledge and expensive expenditure, so some minor artists exclusively have possessed the digital art.
Because digital media can be duplicated without limitation and there is no difference between the original version and its copy, security mechanism is needed to protect copyright. It is technology for protecting digital copyright including water mark, DOI(Digital Object Identifier), INDECS(Interoperability of data in E-Commerce Systems) and DRM that supports the mechanism. To discuss this in the field of fine arts can be a ridiculous issue from aesthetical perspective, but this researcher have spots of digital.
Digital tools are surely convenient. They can create what does not exist and change what exists already dandily and exaggeratedly. However, the blind spot of the digital tools is that they have no 'substance'. Although virtual reality under development enables people to have mental and physical experiences without division between virtual space and reality, only the figures of 0 and 1 exist without physical shapes in reality. Since digital media have limitations from the first, we cannot but rely on analog. Digital media lacking in "irregularity" and "unexpectedness", the characteristics of analog, are said to be 'unnatural' paradoxically. That is because human beings always judge something on the basis of nature. This researcher dares to predict the day may be coming soon when "natural digital" or“digilog" will be highlighted.
Alternative Title
A Study on Digital Media in Modern Fine Arts
Alternative Author(s)
Kim, Hyun-Don
조선대학교 대학원
일반대학원 순수미술학과
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Table Of Contents
제 1 장. 서론 = 1
제 2 장. 디지털 매체의 탄생과 배경 = 4
제1절. 디지털 매체의 탄생 = 4
제2절. 디지털 매체의 문화 예술적 배경 = 5
1. 과학혁명과 세계관의 변화 = 6
2. 전자 정보화시대 = 7
3. 대중화시대 = 8
제 3 장. 디지털 매체의 정의와 발달과정 = 10
제1절. 디지털 매체의 정의 = 10
제2절. 디지털 매체의 발달과정 = 11
제3절. 디지털 매체의 특징과 전개방향 = 14
제 4 장. 디지털과 미디어아트 = 22
제1절. 디지털매체의 정체성 = 22
제2절. 디지털아트와 대중예술, 혹은 문화와의 관계 = 24
제3절. 디지털 매체의 문제점과 방향성제시 = 29
1. 문제점 = 29
2. 방향성 = 34
3. 저작권보호 = 31
제 6 장. 결론 = 37
참고문헌 = 39
도판 = 41
조선대학교 대학원
김현돈. (2006). 현대미술에서의 디지털매체연구.
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General Graduate School > 3. Theses(Master)
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