• 인지과학
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• 제30권4호
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• pp.239-268
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• 2019

영상기억은 시각기억 처리 과정의 최초 저장 기제로서 오랫동안 이론적인 타당성을 인정받아왔다. 그러나 최근 관심이 대폭 증가한 시각단기기억과 시각장기기억에 비해 영상기억에 대한 연구자들의 관심은 상대적으로 부족했던 것이 사실이다. 이러한 관심의 부족은 영상기억 및 시각지속 현상에 대한 이론 및 방법론적 이해의 결여가 그 원인인 것으로 짐작된다. 본 연구는 영상기억 및 시각지속 현상에 대한 이론적 배경과 경험적 연구 사례를 개관해 영상기억에 대한 상세한 이해를 도모하였다. 더 나아가 영상기억의 타당성에 대한 현상학적, 생태학적 비판들의 핵심 내용들을 토대로 향후 영상기억 연구의 방향을 가늠하는데 목적을 두었다.

• 미술이론과 현장
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• 제16호
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).