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A Phenomenological Study on the Recipient of Virtual Reality: Centering on Merleau-Ponty’s Theory of Perception and Hansen’s Concept of ‘Body in Code’

  • Journal of History of Modern Art
  • 2019, (46), pp.37-61
  • DOI : 10.17057/kahoma.2019..46.002
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : November 4, 2019
  • Accepted : December 3, 2019
  • Published : December 31, 2019

So La JUNG 1

1중앙대학교

Accredited

ABSTRACT

Virtual reality works, which we see in contemporary art, typically use digital images to lead and immerse viewers into spaces that are similar to reality. However, some cyberculture theorists have a tendency to exclude the biological body of the viewer in the discussion of virtual reality. Do we really become disembodied whilst absorbing virtual images, as they claim? Through the concept of ‘body in code,’ this paper analyzes the view of media theorist Mark B. N. Hansen, who has been advocating the expansion of the body based on embodiment in the technological environment. Among the many works given by Hanson as examples, I will particularly be looking into the works of Myron Krueger, Simon Penny, and Agnes Hegedus to investigate the characteristics of the body that combines technology with virtual reality. I will also try to understand Maurice Merleau-Ponty’s perception theory, which serves as a foundation and basis for his argument, by focusing on the concept of ‘body schema’ and the ‘reversibility’ of flesh, which reveals the motility and spatiality of the body-subject. Through this research, I seek to explain that our bodies are actively involved in the union with the world by means of technological mediums such as coded programs, and recognize that they dynamically transform by exchanging their structures with each other and expanding.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.