Reference: Bruno, G. (2003) ‘Collection and Recollection: On Film Itineraries and Museum Walks’, in Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson. Amsterdam: Amsterdam University Press (Film culture in transition). Theories 13세기 부터 유행한 기억술은 기본적으로 수집(collection)과 재수집(recollection 회상)을 통해 공간을 맵핑하는 것과 연결

Reference: Turvey, M. (2003) ‘Introduction’, in Michelson, A., Allen, R., and Turvey, M. (eds) Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson. Amsterdam: Amsterdam University Press (Film culture in transition). Summary: 60년대 중반에 이르러 데리다가 미국에 유입되었고 이러한 흐름은 프랑스의 68의 흐름과 더불어 ‘resistance to semantic function’ 새롭게

* Benjamin’s cultural theory is significantly oriented toward the avant-garde as the corollary(필연적 결과적) to the implicit (내제하는) dangers of the society of the spectacle. * @Guy_Debord와 이 사상을 공유한다. -> an insistence on dismantling the society of the spectacle) @Benjamin’s understanding of the urgency of his

The frame started its history accompanied by the image. It shifted its form from the spatial environment, virtual image, spatial object, and once again into the spatial and time-based environment. In cinema, it is possible to speak a message through the narrative or by an actor’s line. The narrative

1. SYMBOL – Causality – Moving Image ver 1. ver 2. ver 3. ver 4. test 2. INDEX – rules & laws – Frame Conceived for Fabergé’s Easter storefront display, the 360-degree mapped 3D installation is based on the company’s pendent designs – which are 1/100th of the size of the 1.