‘대칭적 인류학(anthropologie symétrique)’ 논의와 ‘사운드스케이프(soundscape)’ 작품을 통해 본 기술과 예술의 생태학 (An Ecology of Technology and the Arts Through a Discussion of “Symmetric Anthropology” and “Soundscape”)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 44호 / 179 ~ 200페이지
· 저자명 : 김주옥

초록

본 논문은 인본주의적 견해로 분리된 인간/비-인간 구도를 탈피할 수 있는 방법에 대해‘대칭적 인류학’의 논의로 연구해본다. 기술-미디어를 사용한‘ 사운드스케이프(soundscape)’ 작업을 살펴봄으로써 기술적 주체의 등장과 함께 인간이 타자화했던 기술에 대한 이분법적 구도가 달라지는 것을 확인하며, 과연 예술은 인간 주체에 의해서만 생산 가능한 것인지 반문해본다

영어초록

The purpose of this paper is to reconsider the humanistic attitude by discovering problems in the modern anthropocentric view of the world based on a discussion of ‘symmetric anthropology’, a term proposed by Bruno Latour(1947-) in his book, We Have Never Been Modern. The Great Animal Orchestra, written by Bernie Krause, and which is analyzed in this paper, presents an auditory landscape using ‘soundscape’, which is a compound word made up of ‘sound-landscape’. This soundscape reveals the actual conditions of environmental pollution that cannot be easily recognized by just using our ordinary senses. NEUROSCAPE, a soundscape design system of RETRIEVER that uses deep learning AI technology, shows how sound, image and text information, using the multi-modal method based on meta data search, is restructured into a soundscape collage. By presenting such an example, this paper aims to ecologically look at nature and the environment, which human beings can not see, from an egocentric view of the world and to explore the possibility of reestablishing the host-guest relationship between the subject and others, which had been recognized by separating that dualistic existence from the human environment which surrounds technology, media and the arts.

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