근대 이후 사진은 회화보다 탁월한 재현 양식으로 인식되곤 했다. 이 러한 생각은 이미지가 실재에서 파생된 의존적 표상에 불과하다는, 실재 와 이미지의 관계에 대한 오인에서 비롯되었다고 할 수 있다. 카메라의 정밀한 테크닉이 포착해내는 것은 대상의 표면적 외양일 뿐, 주체의 역 동적인 내면은 아니다. 회화가 예술가의 창조 충동에 의해 주체의 내면 적 삶을 감지하고 표현하는 반면, 사진의 특유의 차가움으로 대상을 객 체화하여 주체를 텅 비게 만든다. 짐멜이 지적했듯이 삶은 개별적 순간 들이 만들어낸 구성물이 아니다. 그것은 연속적 움직임이다. 따라서 사진 의 기계적인 포착보다는, 화가의 실제 영감에 의해 삶의 연속적 움직임 을 매체로 집중시키는 회화가 오히려 실재에 더 가까울 수 있는 것이다. 회화의 본질은 단순히 삶을 포착하는 것이 아니다. 렘브란트의 초상화 가 반향을 일으키는 이유는 ‘존재'의 특정 순간보다는 지속적으로 진행 중인 ‘주체의 생성'을 구체화했기 때문이다. 풍부한 빛의 표현은 죽음의 출몰로 인한 내면적 영성과 신앙, 프로테스탄트적 경건함을 보여주고 있 다. 렘브란트의 작품은 당시 네덜란드인의 일상을 묘사할 뿐만 아니라, 인간의 숙명을 알기 때문에 그들이 가질 수밖에 없었던 단호한 신념을 강렬하게 드러내준다. 렘브란트는 영혼의 화가이자 암스테르담의 영혼들 이었던 것이다. 이것이 짐멜이 말한 렘브란트의 천재성이며, 천재적 예술 가가 창조적 충동에 의해 ‘주체의 생성'을 구체화하는 방법이다.

서구의 인간은, 그리스 문명과 유대교 기독교 문명의 영향력 아래서, 오래 동안 창조의 한복판에서 특수한 자리를 주장해왔다. 서구 문명에서 정의된 인간은 인간이 예외적 존재라는 사실을 통해서 그 같은 입장을 정당화시켰다. 이를테면 성서에 따르면 인간의 탄생은 신과의 근접성을 증언한다거나, 인간이 자연을 물질적으로 사용하고, 논리적 추론을 통해 서 동물 세계를 지배했다는 사실에 근거하여 그같은 주장을 설파한다. 아리스토텔레스와 그리스 철학에 따르면 동물은 그같은 추론 능력을 갖 고 있지 않다. 하지만 동물이 의식도 영혼도 없는 존재로 파악되는 것은 전적으로 서구의 인간중심적인 종교와 과학의 전통일 뿐이다. 이집트 문 명, 페르시아 문명, 인도 문명, 동아시아 문명 등은 인간과 자연, 인간과 동물의 관계를 서구 전통과는 전혀 다른 방식으로 파악하였다. 연대기적 으로 지리적으로 서구 문명과 동떨어진 이들 민족들은 자연 세계와의 친 밀한 관계, 그리고 동물성과 인간성의 밀접한 관계를 인정하였다. 특히, 최근 반세기 동안 축적된 동물 행태학의 관찰과 연구의 영향을 받아, 유인원의 자리매김을 새롭게 시도하고 있는 추세이다. 이를테면, 인간적 특 질들로 파악된 본질적 사실들, 도구 제작, 자아에 대한 의식, 동감, 거짓, 정치적 연대, 기호 언어를 통한 소통 능력 들을 일부 유인원들이 갖고 있 음이 과학적으로 입증되었다. 특히, 프랑스의 일부 인류학자들은 인간 문 화의 동물적 기원을 탐구하려는 시도를 하고 있다. 본 논문의 목적은 자 연 한 복판에서 인간이 차지했던 자리를 문제시 삼으면서, 상당한 지능 이 유인원들에게도 발견된다는 점을 논증할 것이다.

The purpose of this study considers the 4 Major Rivers Maintenance Project based on ‘Technology' and ‘Dwelling' from Martin Heidegger's theory. There are four spatial types on the Project for ecosystem restoration that are the construction for flood control, water purification area, wildlife habitats and waterfront for cultural activities. Ecological statuses of man are the devastator, restorer, and bystander. However, the point of Heidegger's view was that the ecological status of man may be granted only the status as orderer of standing-reserve. It gives commands to Nature incessantly. Man in the midst of objectlessness is nothing but the orderer of standing-reserve. Modern technology is the highest stage of misrepresentation of the essence of human being. Heidegger's theory was clearly that technology carries us outward from ourselves and drives man to dwell unpoetically. But he believed that we are capable of dwelling poetically on the earth by acquiring the measure with ‘Kindness'. His theory has great implications for us, having to concern about ecological restoration within the environmental aesthetic, because he considered man's dwelling as the essential goodness of human nature beyond the sudden sight of beauty.

This article borrowed the concept of “Absolute sings” and “Absolute Marks” which are written in “Painting and Graphics” of Walter Benjamin. These signify not only relationship between God and human which stemmed from Judaism but also represent more strength one-sided communication than communication of human society. Paradoxically, however, it is not a dominant-subordinate relationship but an active obedience relationship. Absolute signs connote the absolute messages on “the plane”. Absolute marks connote the absolute messages in “the space”. All of these are the complementary image to raising the doctrine of a capitalistic society. This article is willing to treat and consider the architectures of contemporary society as the images and spectacles of “The Modern consumption doctrine “ through “Fetishism” which Marx mentioned and “the sign and mark” which Walter Benjamin wrote.

What is it to dwell? What does mean building? Heidegger said that building is really dwelling. To dwell, to be set at peace, means to remain at peace within the free, the preserve, the free sphere that safeguards each thing in its nature. The fundamental character of dwelling is sparing and preserving. And he proposed concept called the Fourfold(Das Geviert). Dwelling preserves the fourfold by bringing the ‘presencing' of the fourfold into things. Things themselves secure the fourfold only when they themselves as things are let be in their ‘presencing.' Dwelling, insofar as it keeps or secures the fourfold in things, is, as this keeping, a building. Human being marauded nature the name called dwelling and building to objective means. But our classic Korean-style house is different. Structure and space of our Korean-style house are connected with the dwelling and building it keeps and secures the fourfold in things that Heidegger told. In this research, I will consider how Heidegger's thoughts can be applied to classic Korean-style house.

‘Sotdae' [솟대] is a long pole designed and built in traditional Korean style. It is commonly accepted that the Sotdae is from Sodo in Samhan Era, which dates from the beginning of the Christian era to approximately 300 A.D. Customs and practices relating to Sotdae continue to be found in modern times. Following Kevin Lynch's theory pointing out the importance of a landmark as a significant component of a city, I tried to reestablish Sotdae's traditional meaning in present day. I think that it is possible to restore the authenticity of Seoul City so that each segment of the city can communicate with better greater flexibility. A visual bond within the city is the first barometer which offers a sense of unity to the citizens. It is also of significant value for an artificial object to possess an absolute visible presence in the particular urban space. Lynch describes obvious visual exposure as the distinctive feature of a landmark. The landmark, as an object that is visually satisfying, also provides a sense of association or a common ideology for the citizens. For example, it is the connected issue of numerous cross signs in the Seoul skyline, which defines the city's identity visually. Setting up the presence of landmarks in an urban space is to establish the city's identity with visual bonds and to restore the communication structure of its citizens. Therefore the city's landmark will provide a means to strengthen the city's identity by supplying certain dynamics to the city in general and thus influence a sense of individual dimension. Studying the city's landmark topologically is to understand the representation of the topological cosmology and thus to comprehend the restoration of the authenticity of Seoul City.

This essay attempts to examine urban semiotics approaches with several territorial maps and various traditional paintings in the late Chosun period, especially in the area of ‘Hanyang,' the old name for the capital, Seoul. Maps in late Choson period basically functioned as geographical objects, but it had various functions as political visions and created socioeconomic purposes. Thus it needs to focus on the reading of the map and study not only urban space, but also people, traffic, commercial business. Real-scenery landscape paintings, painted in the same period, is of great significance in highlighting how members of noble family commissioned a politically motivated painting and used it as a means of representing their political outlooks. These paintings have been interpreted to reflect various topographical meanings based on real cityscape, but sometimes these paintings were celebrated by many members of the high class society and came to be viewed as a visual representation of their political visions. In this essay, I have proposed some new way to understand urban semiotics of Hanyang. It cannot be understood completely without considering its complex urban semiotics context. Reading maps and paintings is specifically concerned to give an analysis of the semiotic structure of particular city, to deepen the analysis of the corresponding spatial structure. This leads us to rethink why and how the specific area of landscape images was created. Visual culture studies for approach to the city will be of great help in reaching a comprehensive understanding of how true-view landscape images were made and used as urban semiotics objects. As a result, it is emphasized that urban semiotics could contribute to a new and better understanding of Hanyang by way of frequent interchange with other disciplines such as sociology, economics and art history as well as maps and paintings of the stylistic approaches.

German philosopher Walter Benjamin developed a creative field, a field beyond traditional science. His thoughts include philosophy, literature, culture, images of city space, and private essays. It is impossible to simplify these into one category. Based on variety of his thoughts, this paper intends to understand Benjamin's concept of image and its temporality. Benjamin's concept “thought-in-image” can be seen in various places. The concept “image-as-thought” is also developed everywhere. Image is however, always something more than just a representation to Benjamin. The concept of similarity, Mimesis goes far beyond being just identical while Allegory represents some kind of ‘absence'. However, no research has been conducted on the fundamental idea of thoughts on image that is developed through complicated phases. This paper attempts to discuss concepts of image that is presented through Benjamin's work: from Benjamin's language theory, The Origin of German Tragic Drama and his further similarity theory, One-Way Street, Arcade Project. This disputation can contribute a highlight to Benjamin's theory. Moreover, the question of what an image is cannot be separated from the question of language. Especially nowadays, in the world of contemporary Art and Culture, it is essential to question where this kind of aesthetics can fit in.

들뢰즈는 상징적 구조 및 결여와 전혀 상관없는 욕망의 긍정성과 내재적인 역동성을 강조한다. 반면에 라캉은 욕망을 언제나 존재 결여 로 정의한다. 여기서 우리는 욕망에 대한 두 가지 상이한 입장을 보게 된다. 본 논문은 세 가지 축을 중심으로 이처럼 대립되는 입장을 다룰 것인데 그 축이란 욕망이론 뿐 아니라 주체성과도 관계가 있다. 먼저 욕망의 성격에서 보자면 생산의 생산과 구성이 대립된다. 다음으로 욕 망의 동인과 관련해서는 비인격적인 특이성이 욕망하는 주체와 대립 된다. 마지막으로 욕망이 바깥에서 기원한다는 것을 들뢰즈가 강조했 다면 라캉은 욕망의 생산성을 능동적이면서 수동적으로 주체성이 구 성되는 것에 연결시킨다. 들뢰즈와 라캉의 사유에 대한 상호 비교적인 이 연구를 통해 욕망의 본질이 분명하게 규명될 수 있을 것이다.

We accept the digital ecology as everyday life. In this circumstances, ‘computer game' has substituted for ‘play' as the basic act of human. Digitalization as technical factor has a huge role in this change. But we must think about the other factor. It is the texualization. Textualization makes the volatile experience of the play into the stable and common image. Through this change, the image is corroborated by computer game, is fundamentally different from the play experience. We conceptualize this image as ‘play-image'. Based on Deleuze's methodology of cinema studies, we analyze the unique properties of the computer game image. And this study provides the possibilities to go beyond the infertility of the existing ‘Narrotology vs. Ludology' controversy in the computer game studies.