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Machine Vision and Posthuman Subject: New Visibility and Cameras of Kelvin Kyung Kun Park, Vertov and Snow

  • Journal of History of Modern Art
  • 2018, (44), pp.147-178
  • DOI : 10.17057/kahoma.2018..44.006
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 22, 2018
  • Accepted : December 1, 2018
  • Published : December 31, 2018

Hye Jin Mun 1

1서울여자대학교

Accredited

ABSTRACT

This paper started with interest in heterogeneous images and senses produced by machine vision. Since the invention of the camera, human vision has already been encroached by machines as it relies on machines to create and view images. However, the intervention of machines differing from the human eyes alters everything related to the visual system, including the nature of vision, the way of cognition, the attributes of the produced images, the observer's status, and the concept of subject. As a starting point for approaching this huge research topic, this paper cross-compares three film and video works dealing with machine vision based on camera, i.e. 1.6 sec(2016) by Kelvin Kyung Kun Park, La Région Centrale (1971) by Michael Snow and The Man with a Movie Camera (1929) by Dziga Vertov, and analyzes the heterogeneity of images, the relationship between human and machine, the possibility of new visibility and subject in these works. All of these works presents new perspectives that can not be grasped by the naked eye, which breaks the classical visual field and the humanistic visual system. Especially, the way that human factor is mixed with the production and appreciation of machine vision poses various issues about posthuman subject. Other visual machines including CCTV, smart phone, game and social media scattered everywhere are also changing current images and visual experiences. Changing visual perception and the development of alternative visual system depending on the varying concepts of machine will be left as a future research project.

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