문화 재현물의 가상공간이 지니는 내포 : 이분법의 패러다임
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Virtual Space, consolidation of the dualism : Connotation in cultural representations
Lee, Soo-jin
This paper discusses the binary opposition caused by the technology of internet and simulation. Specifically it shows the ways in which our conceptions about the virtual space and machine are framed through cultural representations such as novels, films and Websites. This kind of cultural representation presents generally a dystopian vision : a world where the
most savage capitalism ruled by ruthless multinational enterprise, where the violence, the sex and the murder are everywhere, where the real life is useless and people spend his time in the connection to the computer network.
The motif "Virtual space" is appeared for the first time in Neuromancer in 1984. The author William Gibson presented 'cyberspace', which is describes as a space of “consensual hallucination”. And here, the body is sort of obstacle. The division of non space / real(or physical) space corresponds to contemporary conceptions of what is important about our
physical and virtual spaces ; and also, how we regard these spaces. Some of the discussion about virtual space in cultural representations must revolve around whether virtual space is separated certainly with the real space.
And the dematerialization or the virtuality is considered as a main character of virtual space. We can here think about the division of material layer(=hardware) from content layer(=software).
The reinforcement of information patterns implies that of the human mental operations, information delivery processes are the most central and that consciousness can be separated from the human body. For example, the film Surrogate, Gamer and Untraceable use filmic signifier to show scenes where users connect to websites, games or avatars. In this mise-en-scene, one can discover that the characters abandon their own body and normal lives and also they voluntarily lock themselves in the closed and dark space.
According to two semioticians, Roland Barthes and Christian Metz, the denotation in the film corresponds to the dimension in which images or sounds directly and specifically indicate a subject of reality. And by taking the denotation as the primary material (=connoted signifier) and considering what meaning it has within the narrative, it is again furthered as a connoted signified. In this process, 'how it is expressed' is very closely related to 'what does it means'. The denotation is closely related with the direct or perceptive meaning of the scene produced by an image or the sound. On the other hand, the connotation refers to a symbolic characteristic that corresponds to the denoted signifer and signified. When the sequence of visual or audio matter occupies a precise integrated position within the discourse constructed by the total film, it acquires a more important value than itself. It adds on a supplemental meaning.
In this sense, this study refers to the connotation of cultural representations that corresponds to the dichotomy between reality and virtual space and the dualism between human and machine.
