1261039 A Comparative Study on the Technology of Writing and/of Culture
1261039 A Comparative
Study on the Technology of Writing and/of Culture
Organizer(s):
Soo-Young
Nam, Korea National University of Arts (syn201@karts.ac.kr)
Presenters and Abstracts
Soo-Young Nam, (Korea National University of Arts, syn201@karts.ac.kr)
Title of paper: Cinema and Technology of Automatic Writing: How did a Non-human Medium become “Culture”
This research examines the idea of light-writing. The use of artificial light has always been a major concern in the filming process. However, the term writing leads us to the idea that the important in the cinematic image is “what” is written as the indexical object and its concept. This research focuses on the nature of movement of light as drawing rather than writing, in other words, purporting to examine “how” light has generated images. This approach will allow us to realize a variety of special effects that have remained a secondary effect of the film in terms of technology and style in the 20th century cinema.
Taek-Gwang Lee (Kyung Hee University, tglee@khu.ac.kr)
Title of paper: On a Chinese Typewriter: Writing and Technology
Different from early European typewriters, Chinese typewriters started to appear only in the early 20th century with difficulty of having to represent at least 6000 characters. The aim of this study is to discuss the way in which technology transforms the style of writing with cases of the Chinese typewriter by bringing in Benjamin’s and Derrida’s theory of printing.
Chan-Cheol Jung (Hankuk University of Foreign Languages, chancheol.j@gmail.com)
Title of paper: The Ontology of Video Images in the World of Film
This paper explores the ways in which video, the electro-optical recording medium, operates in filmic worlds. The live video gaze, marked as the REC indicator or presented from operator’s POV, often emerges as autonomous and capable of enabling a new form of perspective, one that can doubly affect both the operator and the audience. The recorded video image, distinctively marked by a distinct video quality not only replays characters’ past memories but also penetrates into the surfaces of diegetic worlds and reveals their deeply repressed desires and lost memories. From Kittlerian standpoint, this paper will show the ways in which video plays a determining role in constructing the diegetic world, by relocating situations where characters, their desires, and events interact each other:
Hyowon, Shim (Yonsei University, hyowon.shim@gmail.com)
Title of paper: Chronophotography and the Writing of Transformed Reality
This study regards the chronophotography of étienne-Jules Marey, focusing on its transformability of reality. Chronophotography was a scientific medium for Marey to objectively demonstrate the law of motion of things. With comparison with the idea of Descartes, for whom media might be a transparent one delivering the objective truth as it is, this paper argues that Marey was a pioneer of moving images who first encountered the inherent and autonomical characteristic of serial photographic machine (prototype of Cinematograph). That is, chronophotography did not show reality as the way it was, even though it certainly displayed reality.
Soojin Kwon (Chungang University, Kwonsoojin@gmail.com)
Title of paper: Memory, Forgetting and Re-writing History through Media-archaeological Art
This paper presents the way in which found footages and found mediums that are recycled and reused to represent the ‘Media-Archaeological Art’ as part of postmodern art form. Media-Archaeological Arts reflects the use of obsolete techniques and artifacts, such as analogue video tapes, 16mm film images or historical photographs, no-longer usable optical gears, old toys and old computer techniques, that are out of dates as current technological standards. Such materials require different technological approaches and historical discussions to bring them to existence. This research will elucidate the brief historical background of Media-Archaeology Art.