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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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In this essay, three points are dealt with. The first one is that the power working on the visual image is getting more and more invisible and taking on more and more non-human character. The second point is that as the power is increasingly professionalized, specialized and stratified, it copes with the self-reproducing images in a new way. In the last point, the relationship between the image and the power does not only revolve around gloomy terms such as surveillance and control but a new form of pleasure.
The images discussed here do not belong to any singular dimension since they are stratified in different levels and functions such as: the images pertaining to the realm of truth(science, journalism, observation, record); artistic images(visual art, architecture, films): commercial images(advertising, entertainment); the images for pleasure(film, comics, pornography); and the images as environment(urban space, natural space, waste land). All these levels can not be absorved into any specific stratum and are independent from each other. Therefore, any attempt to gain control over the totality of the images is doomed to fail.
This results in the violent mode in the self-reproduction of the image which can not be easily regulated by any singular regime of power. Hence, Michel Foucault’s notion of power is very useful in this context. Power for Foucault is not a vertical force working from top to bottom. It is spread out into minute tissues of life in modern society. Power is not oppressive but productive. Power produces knowledge and its subject. Power also produces the literacy that enables the subject to absorb knowledge.
The term that best represents the invisible form of power is ‘the vision machine’ discussed by Paul Virilio. Just like the eye of surveillance in the panopticon, this machine operates without being noticed. Diverse forms of surveillance cameras filling the space of our daily life are the examples of such machine. The problem is that as it is invisible, the subject is totally at a loss about how to cope with its gaze. Therefore, such a machine plays an important role in formulating the subject in the contemporary society. The reciprocating gaze is no longer possible in the society of the surveillance. And the mode in which thevisual images proliferate qualitatively and quantitatively far exceeds the speed of academic discourse. Thus, its field has to be extended as to encompass the dynamics working in the dialectics between the proliferation and control of the image.
The images discussed here do not belong to any singular dimension since they are stratified in different levels and functions such as: the images pertaining to the realm of truth(science, journalism, observation, record); artistic images(visual art, architecture, films): commercial images(advertising, entertainment); the images for pleasure(film, comics, pornography); and the images as environment(urban space, natural space, waste land). All these levels can not be absorved into any specific stratum and are independent from each other. Therefore, any attempt to gain control over the totality of the images is doomed to fail.
This results in the violent mode in the self-reproduction of the image which can not be easily regulated by any singular regime of power. Hence, Michel Foucault’s notion of power is very useful in this context. Power for Foucault is not a vertical force working from top to bottom. It is spread out into minute tissues of life in modern society. Power is not oppressive but productive. Power produces knowledge and its subject. Power also produces the literacy that enables the subject to absorb knowledge.
The term that best represents the invisible form of power is ‘the vision machine’ discussed by Paul Virilio. Just like the eye of surveillance in the panopticon, this machine operates without being noticed. Diverse forms of surveillance cameras filling the space of our daily life are the examples of such machine. The problem is that as it is invisible, the subject is totally at a loss about how to cope with its gaze. Therefore, such a machine plays an important role in formulating the subject in the contemporary society. The reciprocating gaze is no longer possible in the society of the surveillance. And the mode in which thevisual images proliferate qualitatively and quantitatively far exceeds the speed of academic discourse. Thus, its field has to be extended as to encompass the dynamics working in the dialectics between the proliferation and control of the image.
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UCI(KEPA) : I410-ECN-0101-2009-609-017275567