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The Return of Icon and Image Aesthetics

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2009, 30(), pp.365-386
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : December 30, 2009

Seung-Chol Shin 1

1베를린 훔볼트대학

Accredited

ABSTRACT

At the end of last century the declaration of iconic turn and pictorial turn led the shift in the idea of image. The image, which was always understood and explained in the shadow of language, now comes to assert its own logic and possibility on the other side of language and discourse. It is not understood merely as the object of interpretation and judgment anymore but rather with material concreteness it creates a spatial and realistic relationship with the beholder and demands that he regard its iconicity per se as the structure of meaning. In this context the sensuous characteristic of icon or picture is naturally brought out in sharp relief and the realistic influence of image, which was locked in the virtual dimension, could also be affirmed. The image is not a passive object of contemplation, but an active subject, influencing our feelings, thoughts and actions. In fact, it stimulates our senses and emotions through its iconic process. It destroys the aesthetic distance to the beholder, directly touches the body of the beholder, and demands an affective reaction from him. This activity of image also deeply involves our cognition. With the aid of optical devices, the image makes the invisible visible, so that it not only conduces production and transmission of knowledge, but also constitutes our reality itself. In other words, it substitutes its reality for the reality of the beholder, while it reinforces the competence of representation. In fact, these days our reality is constituted by images. A clear example are products of Bio Art. So-called “Biofacts” as living artifacts are products of image practice as well as they constitute our physical nature and culture. Our nature and culture are constantly changed by the iconic process of image or by the image practice and so the iconology, which is applied to image practice, is integrated into social practice. Nowadays the broad spectrum of aesthetics has to contain this transgression of image because the image does not only influence our cognition and affect, but also constitutes our culture. With its aesthetic process, the iconicity of image is materialized and tied to our senses. As Bildwissenschaft rehabilitates the image with historic studies about the image and Image Science enables the scientific approach to the image, so Image Aesthetics focuses on the characteristics of image and the way it forms a relationship with the beholder, that is, the inquiry about the iconic, aesthetic process of image

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