사진 읽기의 다변화된 관점과 수용미학 - 사진적 행위와 비주얼 리터러시에 관한 존재론적 연구 -

Abstract

There are two methods, which are mutually different, in readingphotographic image. One is the epistemological perspective of analyzinga scene focusing on code message. As another is a situational cause, itis the ontological perspective of understanding it as un-coding message. In case of the former, a photo becomes resemblance of object(image-icon)or analytical object(image-symbol) as the outcome of photography andalso becomes unilateral message of text literary in the sphere ofcommunication. However, in case of the latter, a photo relies upon theprinciple of photo-index as genèse rather than the outcome of image, namely,as a cause that made the photo exist. What is important there relies uponreading the diversified image as image-index, which designates anyexistence. Also, there are three perspectives that are mutually different in readingthe diversified photographic image : There are the perspective ofsujet-spectrum in Latin, which first analyzes photographic message in therelationship between the image and its demonstrative object, the perspectiveof sujet-operator in Latin, which grasps operator's intention between theimage and the productive moment in the image, and the perspective ofsujet-spectateur in Latin, which speaks of spectator's situationalre-construction between the image and the reception moment. Reading photographic image today is not the general analysis on image from the perspective of sujet-spectrum, which is accustomed to logic andanalysis, but what understands any ontological intention and idea ofsujet-operator and also what implements pragmatics of sujet-spectateuras a user of image. The visual literary in a photo is never the deliveryand analytical interpretation of unilateral message, but relies on positiveimagination of sujet-spectateur, which points to post-construction and openspace. Especially from the perspective of operator, which produces photo,and from the perspective of audience, which accepts photo, the photois not originally the outgoing sign of releasing bon sens any more, butthe receiving sign of accepting and distributing a meaning in pragmatics. Ultimately, as the right understanding of photographic image is a conceptof visual literacy, which is understood as the horizon of the open analysis,it relies especially upon not unilateral but mutual communication and uponthe diversified image. Reading photographic image in today's image-actcan be seen to move from the structualism to which we are accustomedfor a long time, namely, the analytical perspective of sujet-spectrum, tothe diversified perspective of sujet-operator and sujet-spectateur. In thisway, the visual literacy becomes a new method, which makes it overcomethe epistemological limit of the text literacy through the photographicact, which makes it available for mutual communication especially betweensender and receiver, in addition to the diversified perspective of readingphotographic image.

There are two methods, which are mutually different, in readingphotographic image. One is the epistemological perspective of analyzinga scene focusing on code message. As another is a situational cause, itis the ontological perspective of understanding it as un-coding message. In case of the former, a photo becomes resemblance of object(image-icon)or analytical object(image-symbol) as the outcome of photography andalso becomes unilateral message of text literary in the sphere ofcommunication. However, in case of the latter, a photo relies upon theprinciple of photo-index as genèse rather than the outcome of image, namely,as a cause that made the photo exist. What is important there relies uponreading the diversified image as image-index, which designates anyexistence. Also, there are three perspectives that are mutually different in readingthe diversified photographic image : There are the perspective ofsujet-spectrum in Latin, which first analyzes photographic message in therelationship between the image and its demonstrative object, the perspectiveof sujet-operator in Latin, which grasps operator's intention between theimage and the productive moment in the image, and the perspective ofsujet-spectateur in Latin, which speaks of spectator's situationalre-construction between the image and the reception moment. Reading photographic image today is not the general analysis on image from the perspective of sujet-spectrum, which is accustomed to logic andanalysis, but what understands any ontological intention and idea ofsujet-operator and also what implements pragmatics of sujet-spectateuras a user of image. The visual literary in a photo is never the deliveryand analytical interpretation of unilateral message, but relies on positiveimagination of sujet-spectateur, which points to post-construction and openspace. Especially from the perspective of operator, which produces photo,and from the perspective of audience, which accepts photo, the photois not originally the outgoing sign of releasing bon sens any more, butthe receiving sign of accepting and distributing a meaning in pragmatics. Ultimately, as the right understanding of photographic image is a conceptof visual literacy, which is understood as the horizon of the open analysis,it relies especially upon not unilateral but mutual communication and uponthe diversified image. Reading photographic image in today's image-actcan be seen to move from the structualism to which we are accustomedfor a long time, namely, the analytical perspective of sujet-spectrum, tothe diversified perspective of sujet-operator and sujet-spectateur. In thisway, the visual literacy becomes a new method, which makes it overcomethe epistemological limit of the text literacy through the photographicact, which makes it available for mutual communication especially betweensender and receiver, in addition to the diversified perspective of readingphotographic image.