기억의 확장을 통한 상상의 표현 연구 = The Study of Imagination Expression by Memory Extension

다국어 초록 (Multilingual Abstract)

The dissertation is mainly discussing the expression of imagination reconstructed with memory extension in art works today. By interacting with the social and environmental circumstances surrounding us, we create and express our perspectives as the aesthetic expression indirectly. Also we accumulate the various images through the flowing time in our spaces. The space can be memorized by some special occasions, events, and situations. With memories, likewise, we have built the memories from the past to present. In common with artists attempting to communicate with spectators using their own life stories, the memories provide the art works' backgrounds as the whole experience to the artists.
Under this idea, I start with the 'house' as the memories of space. The house is the trace of people who have lived in there and its forms are numerous. I organically transform the spaces possessing a number of meanings and much time, shedding new light on the new spaces by blending memories, imagination and house images. I signify the daily experiences with my own specific language. In other words, my daily memories are recomposed because new spaces and the figures of reconstructed spaces have a great significance as the concrete objects that comprise of art works transcending the established meanings.
Those preceded studies are the supplementary for my art works and perspectives. I investigate the way various structures are established which are reconstructed by interacting with imagination and theories regarding 'memory' in art field. In this dissertation, 'Memory', the main theme is originated from Henri Bergson's subconscious representation of memory in his book, Materials and Memory. In addition, he argues in Materials and Memory that the subjective imaginary world, which is based on the imagination, is superior to the objective western science world which is based on the reason.
Gaston Bachelard, called .Nicolaus Copernicus in 20th century, also emphasizes the creativity and originality stemmed from the power of imagination. Thus the memories can be some images through the course recalling the impression and experience of the past that have been kept consciously and unconsciously. However even objective and common experiences that images recall through personal memories are present differently in terms of each perception. It means that unlike the knowledge, skills and news replayed in our mind without deeply thinking, the objects and places having another values by using memories can be something that transcends the thing they imply. If the collective memories of social cultural community consist of a nation's historical basement, those of a person can be the foundation of personal identity. Namely, the memories reveal the identity, not affected by each different experiences of lives.
With this research, I conclude a person's emotion give some strong effects on the storage place called memories. If we remember something, it does not mean we accept the events as what they were but as what we understood and interpreted. These memories are left as the positive or negative ones through the personal course of each other and they can be the private memories.
In the course, the memories and imagination we possess are not the simple, common and similar relation but the complex, continuously changeable, and multilayered structure, interacting by affecting each other. In these days as the power of imagination is emphasized, art is the expression of emotion and sensibilities through the memories, human's mental ability and imagination, the extension of memory.
With present experiences, we reconstruct our memories with our feelings and personalities and it extends our memories, resulting new spaces and forms rebuilt by our memories and imagination. The reconstructed images are beyond the established meanings and remain as concrete objects comprising of art works.

목차 (Table of Contents)

• 목 차
• Ⅰ. 서 론= 1
• 1. 연구의 배경과 목적=1
• 2. 연구의 방법과 범위=2
• Ⅱ. 기억의 근원적 배경= 3
• 1. 기억의 구조 = 3
• 1.1 기억의 사상적 의미 = 3
• 1.2 베르그송(Henri Louis Bergson)의 기억 = 4
• 1.2.1 기억의 두 형태 =·7
• 1.2.2 기억의 현대적 의미 =10
• 2. 기억의 확장 =13
• 2.1 가스통 바슐라르(Gaston Bachelard)상상력의 의미 =13
• 2.2 기억과 상상력의 상호작용 = 18
• Ⅲ. 기억의 확정에 의해 재구성된 구조 =22
• 1. 경험된 기억의 장소 =· 22
• 2. 자아가 투영된 내재된 사물(objet)= 23
• 3. 집단기억을 통한 기념비적 공간 =24
• Ⅳ. 기억의 확장과 관련된 작품 분석=27
• 1. 경험된 기억으로 인한 체험 공간=27
• 1.1 비가시적 ‘광원’을 통한 옛 집 = 30
• 1.2 이동 가능한 기억의 집=34
• 2. 어린 시절을 통한 사물의 의미화=39
• 2.1 내재된 사물을 통한 자전적 일기=39
• 2.2 ‘과거 그 자체’의 연출된 재현 =43
• 3. 흔적의 기억을 담은 장소 특수성 = 48
• 3.1 Casting을 통한 기념비성 =·48
• 3.2 도시가 지닌 흔적의 유기체 =53
• Ⅴ. 결 론 = 54
• 부 록
• <참고 문헌> =·57
• <작품 목록> =60
• =73