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20세기 후반의 디지털 혁명은 기술적으로 예술품에 근본적인 변화를 가져왔다. 이제 인간의 망막으로는 쉽게 구별할 수 없는 초고화소의 초현실주의 작품이 등장하고 있으며, 이러한 현상은 지금 이 순간에도 현재 진행형으로 지속되고 있다. 그 결과, 현재 기존의 기계 복제 시대와는 달리, 합성, 조작, 복제, 시뮬레이션, 3D 등을 통해 보다 완벽한 컴퓨터 디지털 작품이 등장했으며, 이로 인해 인간의 눈으로는 진품과 모조품을 구별할 수 없는 상황에 이르렀다. 디지털 기술의 지속적인 발전에 따라, 사진, 영화, TV, 영상 등은 기존의 아날로그 이미지에 대한 우리의 믿음을 근본적 바꾸고 있다. 창작의 영역에서 원본과 사본, 진품과 모방 간 관계가 발생했었고, 과거 사실에 대한 신뢰도 문제도 불거졌다. 디지털 기술은 나아가 가상현실, 증강현실, 홀로그램 등 그간 존재했었던 영상을 새롭게 추동하고 있다. 또한, AI 기술은 예술품에 대한 전통적인 인식을 완전히 바꾸고 있다. 이에 따라, AI는 현실 공간을 가상공간 등으로 옮겨왔고, 물리적 현실의 기반을 상상의 이미지로 구현하고 있다. 그 결과, 물질적 현실을 넘어 이미지의 가상화라는 결과를 야기했다. 대중은 기술적 발전에 대해 다양하게 논의를 시작했으며, ChatGPT의 활용과 AI가 생성한 작품과 현시대의 예술과 존재에 대한 새로운 화두를 던지고 있다.
발터 벤야민은 수공예 시대와 기계 복제 시대가 모두 존재했던 과도기적 시점에서, 전통적 수공예 시대와 기계 복제 시대를 구별했으며, 아우라의 소멸 등 일련의 예술적 이론을 제시했다. 디지털 시대에 이르러, 디지털 기술에 힘입은 무제한 복제능력과 전송은 아우라(Aura)의 소멸, 작가의 증발, 독창성의 상실 등 일련의 화두가 등장했으며, 디지털 기술은 기존의 예술에 대한 성립 요건을 변화시킬 것이라고 예견되었다. 그러나, 연구자는 디지털 기술의 발전이 예술품의 종말이라는 결과를 야기하지 않았다고 생각한다. 본 논문은 프랑크푸르트 학파의 대표적 인물인 발터 벤야민의 아우라 이론에 대한 연구 및 고찰과 기호학 이론을 바탕으로 디지털 시대의 예술품을 분석했다. 또한, 수공예 시대, 기계 복제 시대, 디지털 시대 그리고 AI시대의 예술 작품과 아우라를 논했다. 아울러, 주체적으로 기표와 기의가 결합된 인코딩과 디코딩, 삼원론, 신화론, 기호학 이론을 통해 예술품을 분석했으며, 이 과정에서 다음과 같은 사실을 주장하고자 한다. 예술품을 하나의 기호로서 분석할 경우, 예술품의아우라는 사라지지 않았다. 나아가 AI 작품에서도 아우라의 가능성은 존재하고 있었다. 그러므로 본 논문은 아우라의 소멸이라는 관점에 대해 비판적 태도를 견지했으며, 기계 복제 시대, 디지털 시대를 막론하고 아우라가 존재한다고 주장한다. 연구 결과, 발터 벤야민의 아우라는 대상 자체에서 비롯된 것이 아닌, 주체 - 대중 간 작용에서 비롯된 것이다. 이러한 주체 - 대중 관점의 이동은 오늘날 매우 중요한 토론의 결과를 구성하게 된다. 아우라는 기술의 발전에 따라 인코더의 발언권은 점차 축소된 반면, 디코더의 해석능력이 상대적으로 부각되고 있다. 아우라가 인코더에게서 디코더로 이동했다는 관점은 디지털 시대, AI 시대의 예술품에 대한 의미있는 시사성으로 해석되기를 희망한다.
발터 벤야민은 수공예 시대와 기계 복제 시대가 모두 존재했던 과도기적 시점에서, 전통적 수공예 시대와 기계 복제 시대를 구별했으며, 아우라의 소멸 등 일련의 예술적 이론을 제시했다. 디지털 시대에 이르러, 디지털 기술에 힘입은 무제한 복제능력과 전송은 아우라(Aura)의 소멸, 작가의 증발, 독창성의 상실 등 일련의 화두가 등장했으며, 디지털 기술은 기존의 예술에 대한 성립 요건을 변화시킬 것이라고 예견되었다. 그러나, 연구자는 디지털 기술의 발전이 예술품의 종말이라는 결과를 야기하지 않았다고 생각한다. 본 논문은 프랑크푸르트 학파의 대표적 인물인 발터 벤야민의 아우라 이론에 대한 연구 및 고찰과 기호학 이론을 바탕으로 디지털 시대의 예술품을 분석했다. 또한, 수공예 시대, 기계 복제 시대, 디지털 시대 그리고 AI시대의 예술 작품과 아우라를 논했다. 아울러, 주체적으로 기표와 기의가 결합된 인코딩과 디코딩, 삼원론, 신화론, 기호학 이론을 통해 예술품을 분석했으며, 이 과정에서 다음과 같은 사실을 주장하고자 한다. 예술품을 하나의 기호로서 분석할 경우, 예술품의아우라는 사라지지 않았다. 나아가 AI 작품에서도 아우라의 가능성은 존재하고 있었다. 그러므로 본 논문은 아우라의 소멸이라는 관점에 대해 비판적 태도를 견지했으며, 기계 복제 시대, 디지털 시대를 막론하고 아우라가 존재한다고 주장한다. 연구 결과, 발터 벤야민의 아우라는 대상 자체에서 비롯된 것이 아닌, 주체 - 대중 간 작용에서 비롯된 것이다. 이러한 주체 - 대중 관점의 이동은 오늘날 매우 중요한 토론의 결과를 구성하게 된다. 아우라는 기술의 발전에 따라 인코더의 발언권은 점차 축소된 반면, 디코더의 해석능력이 상대적으로 부각되고 있다. 아우라가 인코더에게서 디코더로 이동했다는 관점은 디지털 시대, AI 시대의 예술품에 대한 의미있는 시사성으로 해석되기를 희망한다.
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표 목 차 ⅲ그 림 목 차 ⅳ국 문 요 약 ⅵ1. 서론 ················································································································11.1 연구의 배경과 필요성 ·····················································································91.2 연구의 목적 ·····································································································111.3 연구의 방법 ·····································································································141.4. 연구대상과 범위 ····························································································161.5. 논문의 구성 ··································································································182. AI 시대 ·················································································································192.1 AI 시대의 도래 ·······························································································192.1.1 수공업 시대 ································································································222.1.2 기계복제 시대 ····························································································272.1.3 디지털 시대 ································································································322.1.3 AI 시대 ········································································································382.2 디지털 시대와 AI 시대의 특징 ···································································382.2.1 디지털 테크놀로지의 발전 ······································································452.2.2 시뮬레이션의 도입 ····················································································472.2.3 AI 시대의 예술 창작 ················································································493. 기호학의 이론적 기반 ·······················································································503.1 기호의 발전 ·····································································································513.2 기호의 이론 ···································································································513.2.1 소쉬르의 기의와 기표 ··············································································54ii3.2.2 롤랑 바르트의 신화론 ··············································································573.2.3 퍼스의 삼원적 관계구조 ··········································································603.2.4 스튜어트 홀의 인코딩과 디코딩 ····························································644. 아우라에 대한 이론 연구 ·················································································654.1 벤야민의 아우라 ·····························································································664.1.1 아우라의 개념 ····························································································684.1.2 아우라의 특징 ····························································································694.2 아우라의 차이점 ·····························································································694.2.1 수공업 시대의 아우라 ··············································································744.2.2 기계복제 시대의 아우라 ··········································································824.2.3 디지털 시대의 아우라 ··············································································884.2.4 AI 시대의 아우라 ······················································································935. 사례연구 ···············································································································945.1 분석 방법과 대상 ···························································································945.1.1 분석 방법 ····································································································965.1.2 분석 대상 ··································································································1005.2 아우라에 대한 기호학적 연구 ···································································1005.2.1 디지털 영화 ······························································································1175.2.2 VR ··············································································································1215.2.3 NFT ············································································································1245.2.4 AI 예술 ······································································································1316. 결론 ·····················································································································136참고문헌 ················································································································142ABSTRACT ············································································································145
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