시각체계와 전쟁 테크놀로지의 상관성에 대한 고찰: 폴 비릴리오의 지각이론과 ‘아덴만의 여명’ 작전을 중심으로

신성환 문학과영상학회 2012 문학과영상 Vol.13 No.4

This study aims to explain the problem of main agents of visual recognition in the modern picture images, perception of technology and visual system in modern picture images based on the theory of Paul Virilio. Advancement in technical environment makes revolutionary change of the relations between main agents of visual recognition and picture images. This mechanism is a very important analytical concept as the process which is composed of main agents of visual recognition that indiscriminately accepts excessive picture images in recent years. Paul Virilio looks into the speed acceleration by technology as the characteristic in “dromology.” According to Virilio, the politics of speed and the media revolution have caused contemporary space and time to disappear. This could endanger democracy. When the speed reaches absolute status, authoritative power delocates, deterritorializes, and endocolonizes human life by maintaining a condition of techno war. This study tries to make clear the theoretical relations between speed, visual system and power. There are three kinds of revolution of dromology in his theory. He contemplates his theory based on the phenomenology through advanced transporter, the revolution of real time electronic media and the transplant revolution. There is a similar phenomenon of the techno war in the operation “Dawn of Gulf of Aden” as his point of view. Operation “Dawn of Gulf of Aden” was a naval operation by the Republic of Korea Navy against Somali pirates in the Arabian Sea. The South Korean forces retook the ship by force on January 21, 2011 in a successful boarding action that resulted in the death of eight and the capture of five out of seventeen pirates. This operation shows us the distorted benefits of the digital technology to human beings and society. Paul Virilio and his texts show the ventilation of our situation and ethical question about technological advancements and visual system. Ultimately, he insists that human beings can control the speed against the growth of science. In particular, his attention to the value of space as the basis of humanity is taken as a strategy for the recovery of the human condition. This study attempts to draw the clue to how to overcome the status of dependence on technology and techno phobia by considering their self-control.

탈근대 전쟁과 속도의 정치학

민병원 고려대학교 평화와 민주주의연구소 2022 평화연구 Vol.30 No.2

탈냉전기 이후 무기체계는 파괴력의 증가와 더불어 빠른 속도를 그 특징으로 한다. 다양한 분야에서 고속의 기계장치들이 도입되면서 공격과 방어 속도가 점점 빨라지고 있는데, 이 논문은 이러한 군사기술의 사례에서 나타나는 ‘속도’의 문제를 집중 탐구한다. 이를 위해 냉전기 이후의 군사안보 패러다임 변화를 ‘속도’의 개념을 중심으로 살펴보고, 그 특징과 정치적 의미를 짚어본다. 제2장에서는 속도의 기술이 초래한 정치사회적 변화를 살펴보고, 제3장에서는 이러한 변화가 군사안보 분야에서 어떻게 구현되고 있는지를 논의한다. 제4장에서는 탈근대 전쟁 개념의 변화가 정치적으로 어떤 의미를 갖는가를 논의한다. The weapon system in the postmodern era is characterized by the increase of destructive power and fast speed. The speed in the military machines for attack and defense has become faster and faster, so that it’s more difficult for humans to catch and respond to them. This paper explores the issue of speed in the field of military technology. The paper also looks at the change of strategic paradigms in the postmodern era in terms of the notion of speed, and discusses its features and political implications. For this, the paper investigates the political and social changes due to the speed technology in the second section. The next section gets deeper into the field of military technology which has reflected the development of speed technology. It emphasizes that the postmodern military approach has converted from geostrategy to chronostrategy, and that the principle of immediacy, real-time communication, telepresence, virtual reality and the universal of world time have become major factors of the change. The last section discusses the political implications of the postmodern war.

1990년대 디지털 테크놀로지의 확산과 김영하 초기소설의 관련양상에 대하여

윤재민(Yoon, Jae Min) 동악어문학회 2019 동악어문학 Vol.77 No.-

이 글은 우리시대의 가장 독창적인 기술정치 비평가 중 하나인 폴 비릴리오의 질주학적 사유를 통해 김영하의 초기 세 편의 소설(「피뢰침」, 「전태일과 쇼걸」, 「보물선」)에 나타난 디지털 테크놀로지시대의 신체상황성 재현양상을 조망하는 시도이다. 질주학적 사유는 테크놀로지 발전에 따른 ‘진보’의 경험을 역사적 분절로 지각하는 것이 아니라 끊임없이 속도를 높여 연속되는 질주의 강도(强度)로 이해하는 관점이다. 이는 공식적인 시간관 혹은 의식화를 경유한 역사 단위로는 지각될 수 없는, 테크놀로지의 혁신적인 질주강도에 실시간으로 적응하여 이를 수행하는 개별신체에 주목한다. 인간이 지각하고 영향을 행사하는 모든 현상 중에서 테크놀로지만큼 인간행위가 절대적인 상수인 개념은 없다. 현대사회 테크놀로지 문화에 대한 특유의 비관적인 관점 때문에 그 의의가 분명하게 강조되진 않지만, 비릴리오의 질주학적 사유는 테크놀로지 시대의 혁신적인 속도의 역학을 지속시키는 게 인간의 신체적인 수행역량임을 분명히 한다. 이는 기존의 ‘1990년대 문학’ 담론으로는 말해진 적 없던, 김영하 초기소설에 두드러졌던 디지털 시대 새로운 신체감각의 소설적 재현양상을 조망하기 위한 유의미한 관점임이 분명하다. This paper is an attempt to identify bodily situatedness of the digital technology era that is represented in Kim Young-ha’s early three novels through Paul Virilio’s Dromological view. This view is not to perceive the “progress” of technology development as historical division, but to understand that it is the continuous intensity by increasing technological speed. It focuses on the performativity of individual bodies, the continuous unit of human experience associated with progressive technology, that adapt in real time to the innovative speed of new technology which cannot be perceived by conventional historical view via official time perspectives or through politically consciousness raising. Indeed, among all the phenomena that human perceive and influence, Technology is one of the most absolutely implicit concepts of human behavior. Virilio’s idea is not directly revealed by his unique pessimistic view of modern society’s technology culture. But closer look at his ideas makes it clear that the human physical bodily action is sustained in the innovative speed dynamics that are caused by the spread of progressive technology. This is obviously a meaningful view to research on the fictional representations of new bodily sense in the digital age, which have never been mentioned in the discourses of Korean literature in the 1990s, especially Kim Young-ha’s several early novels.

폴 비릴리오의 지각이론을 통해 본 시각적 주체성 회복 -영화 <파이널 컷>과 드라마 <블랙 미러>를 중심으로

신성환 ( Shin Sung-hwan ) 한국언어문화학회(구 한양어문학회) 2012 한국언어문화 Vol.0 No.49

This research aims to explain the problem of main agents of visual recognition at the modern picture images, perception of technology and visual system in modern picture images based on the theory of Paul Virilio. Advancement in technical environment makes revolutionary change of the relations between main agents of visual recognition and picture images. This mechanism is very important analytical concept as the process which is composed main agents of visual recognition that indiscriminately accepts excessive picture images in recent years. Paul Virilio look into the speed acceleration by technology as the characteristic in Dromology. This study tries to make clear the theoretical relations between speed, visual system and power. There are three kinds of revolution of dromology in his theory. He contemplaters his theory based on the phenomenology through advanced transporter, the revolution of real time electronic media and the transplant revolution. There is a similar phenomenon of the transplant revolution and cultural eschatology in the movie < The Final Cut >and the drama < Black Mirror > as his point of view. This texts shows us the distorted benefits ot the digital technology to human being and society. Paul Virilio has claimed about speed, visual machine, transplant revolution, colonization, that are shown and played key role in this texts. Paul Virilio and this texts are shown that ventilation of our situation and ethical question about natural human being. Ultimately, he insists that human being can control the speed against the growth of science. And then this study has tried to draw the clue about how to overcome the status of dependence on technology and techno phobia by considering their self-control.

폴 비릴리오(Paul Virilio)의 전쟁론에서 로컬 공간 회복의 전망

장세룡(Jang Se-Yong),신지은(Shin Ji-Eun) 부산경남사학회 2010 역사와 경계 Vol.75 No.-

This paper deals with the critical viewpoints of Paul Virilio regarding speed in the modem era and the so called absolute speed that has caused deterritorialization and endo-colonialization. According to Virilio, the politics of speed and the media revolution has caused contemporary space and time to disappear. This could endanger democracy. When the speed reaches absolute status, authoritative power delocates, deterritorializes, and endocolonizes human life by maintaining a condition of 'pure war'. Resistance by the people takes place in a different way than in the past. This paper tries to make clear the theoretical relations between speed, power and popular resistance by analyzing Virilio's notions of nuclear deterrence, dromology, the logistics of perception, and polar inertia. In particular, his attention to the value of space as the basis of humanity is taken as a strategy for the recovery of the human condition.

실패의 체험과 근대의 가능성 - 정지용 「유선애상」에 관한 소고 -

이지상 우리말글학회 2024 우리말 글 Vol.100 No.-

이 논문의 목적은 정지용의 시「유선애상」을 중심 텍스트로 하여 기존 연구에서 전개된 해석의 차원을 종합하고 다소 차치되었던 ‘애상’의 층위를 면밀하게 검토하는 것이다. 이는 정지용 문학에서 ‘근대’가 출현하는 기제와 모체를 규명하는 데 필수적이다. 이를 통해 정지용 문학에 대한 정교한 독법이 제시되기를 기대한다. 동시에, 불명확한 ‘근대’가 어떤 변증법적 도정을 통해서 주체의 인식 지평에 근대라는 사물을 영사하는지에 대한 상세한 검증이 가능하기를 기대한다. 「유선애상」은 소재의 상정과 해석에서 의론이 충돌하는 작품이다. 이 논문은 자동차를 소재로 상정한 기존 연구들에서 제시한 시구 해석을 다수 수용하며, 맥락을 벗어나거나 앞뒤가 맞지 않은 해석의 경우에는 시적 맥락을 경유하는 독법을 새롭게 제시하고자 한다. 특히, 시가 지어진 1930년대 당시 조선을 강타한 유선형 담론과 경춘가도를 통해 이루어진 자동차 대여업의 실황을 살핌으로써 「유선애상」이 포착한 ‘근대’의 환상을 조망하고, ‘근대’에 관한 진리가 드러나는 실패의 도정에 천착해보도록 할 것이다. 정지용은 세련된 감각 인식으로 ‘근대’에 대한 고찰을 이어나간 시인으로 평가된다. 김기림은 정지용을 ‘최초의 모더니스트’라 명명하며 정지용이 포착하는 “문명의 뭇면”, 도회적 감각에 주목하였다. 정지용의 ‘근대’는 그것에 대한 환상을 통해 구성된다. 그의 시에서 그것은 시대적 모호성에 대한 시적 주체의 대응으로 나타나며, 이러한 시도는 근대라는 사물의 속성을 구현하는 것의 실패로 이어진다. 「유선애상」은 대체로 1930년대 조선의 유선형 담론의 자장 내에서 해석된다. 유선형은 본래 물체에 속도를 더하는 곡선형의 디자인으로, 기술적 효용에 그치지 않고 문화 기호적 성격을 획득하여 “근대의 정신”의 상징으로 자리 잡는다. 유선형 자동차는 정지용이 「소묘 3」을 통해서도 밝히듯, 속도에 대한 대중의 열망을 담지한 사물이다. ‘유선’이 선사하는 속도감은 ‘근대적 신화’를 지탱한다. 이로써 ‘유선’은 사회적 제약을 극복하는 희망적 미래에 대한 기표로 발돋움한다. 대중의 열망이 팽배함에 따라 자동차 대여업도 성장세를 보인다. 이러한 배경에서, 시는 대여한 유선형 자동차를 타고 춘천여행을 감으로써 ‘근대’를 체험하려는 시적 주체의 일화를 다룬다. 그런데, 자동차를 처음 만나는 시점에서부터, 출발과 여정의 심화에 이르는 동안 화자는 기대했던 고양된 ‘근대’와의 대면에 실패하고 ‘슬픔’에 빠지기만을 반복하는 모습을 보인다. 만남의 시점에는 겉보기 “뛰어”나고 “산뜻”한 외양의 자동차는 그 속을 들여다보는 순간 “허술”하고 “철로판에서 밴 소리”만 나는 추한 대상임이 판명된다. 여정을 시작한 상황에서 화자는 “궂인날”이라는 제약에도 “회회 떨어 다듬고 나”설 수 있는 기술 발전의 역동성에 놀라지만, 곧이어 도회의 교통상황이 야기하는 교착상태가 엄습하며 다시금 실망을 느낀다. 여정의 심화에서 화자는 결국 “춘천삼백리 벼루ㅅ길”을 내달리며 속도의 감각을 쟁취한다. 그러나 이 역시 공간의 확장성을 통해 ‘근대’에 대한 만족과 향락을 선사하기는커녕 시간의 찰나성으로 이어지며 화자는 ‘근대’를 체험에 다시 한 번 실패하고 만다. 춘천에 도착하자 자동차의 시동은 꺼진다. 속도감이 소멸하 ... The purpose of this paper is to synthesize the dimensions of interpretation developed in existing studies and closely examining the previously neglected level of ‘grief’,using Jeong Ji-yong’s poem Yuseon-aesang(which means “The Grief of the Streamline”) as a central text. This is essential for identifying the mechanism and the matrix of the emergence of ‘moderity’ in Jeong Ji-yong’s literature. In doing so, it is hoped that a a sophisticated reading method for Jeong Ji-yong’s literature will be presented. At the same times, it is hoped to provide a a detailed examination of how the ambiguous concept of ‘modernity’ is perceived and projected through a dialectical process. His poem Yuseon-aesang is a work that presents conflicting interpretations and assumptions about its subject material. This paper aims to adopt many of the interpretations of the poem that have been proposed in existing studies that assume automobiles as the subject matter. If interpretations are found to be out-of-context or inconsistent, this paper proposes a new reading based on the poetic context. In particular, by examining the discourse of the streamlined shape that swept through Joseon in the 1930s, when the poem was written, and the actual situation of the car rental business established through Gyeong-Chun Road, we will examine the fantasy of ‘modernity’ captured by Yuseon-aesang and explore the path of failure through which the truth about ‘modernity’ is revealed. Jeong Ji-yong is a poet who continued to consider ‘modernity’ with sophisticated sensory perception. Kim Ki-rim called him the “first modernist” and noted the “facets of civilization” as well as the urban sensibility captured by Jeong Ji-yong. His “modernity” is constructed through fantasy about it. In his poems, the facets of civilization and urban sensibility appear as the poetic subject’s response to the ambiguity of the times, and this attempt leads to the failure to embody the nature of modernity itself. Yuseon-aesang is generally interpreted within the realm of a discourse of streamlined shape in Joseon in the 1930s. Originally, streamline meant a curvilinear design that adds speed to an object, and not only has technical utility, but also acquires a cultural symbolic character, and becomes a symbol of the “spirit of modernity.” As Jeong Ji-yong reveals in Somyo 3(Drawing 3), the streamlined automobile is an object that embodies the public’s desire for speed. The sense of speed provided by the ‘streamline’ supports the ‘modern myth.’ Through this, ‘streamline’ becomes a signifier for a hopeful future that overcomes social constraints. As public aspiration prevails, the car rental industry is also showing growth. Against this background, the poem deals with the anecdote of a poetic subject trying to experience ‘modernity’ by traveling to Chuncheon in a rented streamlined automobile. However, from the first meeting with the automobile to the departure and as the journey progresses, the poetic narrator repeatedly fails to encounter the uplifting ‘modernity’, falling into ‘sadness.’ The automobile, which appears to be “remarkable” and “fresh,” turns out to be an ugly object that is “rickety” and makes only “the sound ingrained by railroad.” At the beginning of the journey, the narrator is amazed by the dynamism of technological advancement, which allows him to “Thrust out” despite the constraint of a “bad day.” However, soon after, he feels disappointed again, caused by the deadlock of the urban traffic situation. In the deepening of the journey, the narrator eventually achieves a sense of speed by running along the “Chuncheon Three Hundred-li Cliff Road.” However, this also leads to the fleetingness of time, failing to provide satisfaction and enjoyment of ‘modernity’ through the expandability of space, and the narrator once again fails to experience it. Upon arriving in...