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A Study on the Change of Post-Human's Perception on Visual Media

  • Journal of Communication Design
  • Abbr : JCD
  • 2018, 64(), pp.233-246
  • DOI : 10.25111/jcd.2018.64.18
  • Publisher : CDAK Society of Communication Design
  • Research Area : Arts and Kinesiology > Design > Visual Information Design > Information Design
  • Received : June 10, 2018
  • Accepted : July 25, 2018

Zheng, Gen 1,  ParkSanHyun 2

1건국대학교 영상학과
2건국대학교

Accredited

ABSTRACT

Because many works of modern interactive art ar e ultimately connected with the human body, the phil osophical perspective based in reality and experience is largely focused on the question of how humans ex perience and perceive art. However, because the hu man body has long been classified as inferior to the mind and soul, the concept of the physical embodim ent of art has received little attention within the field. Conversely, philosopher Maurice Merleau-Ponty prioriti zed the personification of the body and its senses, th us rejecting the modern era’s dualistic definition of th e human body; rather, Merleau Ponty characterized t he body as an active experiencer of art, rather than a passive observer. The classification of the physical body as inferior to its non-physical counterparts is the result of ‘uncer tainties about physical limitations and perceptions’. H owever, the realm of art presents a contrasting persp ective that highlights to uncertainties in human sense s, i.e. the art form that actively utilizes delusion. As such, the body enters a work of art as one of the t wo primary subjects of experience, the other being s enses. Therefore, executions of art and theories abou t the human body are now grounded in novel perspe ctives including phenomenology, psychoanalysis, and cognitive science. Thus, the characterization of art is now transforming from a Cartesian relationship betwe en an autonomous body and an objective work of ar t, to an intersubjective experience. Art is no longer confined to the bounds of sight and sound; rather, it simultaneously stimulates all five senses, including smell and touch. Consequently, art is not limited to an understanding or experience based on interpretation and contemplation. Rather, it is now the subject of a sense-induced spectacle and immersion in which the user’s experience and perceptive methods hold more significance than his philosophical interpretation. As technology users, the audience is exposed to a novel experience in the middle of media and mediated perception. Through interaction, the body has evolved away from its previous classification as an inferior form, thusbecoming an active participant in art; accordingly, this study defines the physically formed and transformed ‘human’ as resolutely Posthuman. In terms of artistic acceptance and understanding, if audiences of the past embraced the artist’s intentions when analyzing a work of art, audiences of intersubjective art now have renewed identities as participants and users that actively interact with and direct the art according to their own perspectives and understanding. As a result, the Posthuman approach allows for diverse sensory embraces of art through phenomenal perception. The effects of the blurred line between media experiences and actual experiences reach beyond the physical and into the virtual realm. When examining the presence felt by humans when mobilizing and experiencing diverse feelings through a Merleau-Pontian lens, a certain phenomenon exists between the body and an object in which the human perceives that he or she is in another place. This virtual space is now no longer a realm in which human souls and minds dualistically float around, but rather an existing reality that can be perceived as it forms human bodies and phenomena. The decline of the framework of traditional visual media has prompted the rise of a Posthuman era m arked by a multisensory experience of the virtual do main and the perception of the virtual world as a tan gible and formative reality.

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