This thesis investigated largely two subjects: first, it explored the applicability of visual formalism proposed by Heinrich Wolfflin (1864-1945) and externality as an element of imagery in narrative literature proposed by M. Mikhail Bakhtin (1895-197... This thesis investigated largely two subjects: first, it explored the applicability of visual formalism proposed by Heinrich Wolfflin (1864-1945) and externality as an element of imagery in narrative literature proposed by M. Mikhail Bakhtin (1895-1975) for aesthetic approach to chronotope expression by presentation of major exhibits in exhibition space; and, second, it demonstrated the relationship between external and internal viewpoints, which are part of visual discourse, and basic elements of viewing inducement, such as visual attraction and occupancy and eye movement path. Therefore, this study begins with basic discussion of narrative systems in aesthetics and literature and is limited to analyzing the viewing attention that induces curiosity for major scenes in exhibition. It is focused on aesthetic expression and selection of attention inducement in directing display of exhibits related to various subjects and propose the relevant explanations and methodology. Chapter 2 explains the theory of vision as a theory of aesthetics related to space and vision by Konrad Fiedler; visual transformation suggested by Wolfflin; incongruity of pure vision by Alois Riegl; and, externality by Bakhtin. Furthermore, relevant previous research was reviewed and discussions and analysis of each subject were examined and classified according to the relevance (high, medium, low) to this study, in order to summarize the contents and discuss the direction of the research. In Chapter 3, examples of exhibition presentation based on display methods and visual interpretation were selected from exhibition-related websites in South Korea and elsewhere, and then, a survey was conducted to re-verify and evaluate the suitability of the cases. The survey, which concerned scenes of exhibitions, external and internal vision, and reciprocal visual elements such as visual display, transgression, heterogeneity, surplus of seeing, metonymic substitution, interactivity, linearity, picturesque, depth, unity, tactile, pluralism, and suitability, was conducted among 42 experts and 62 students majoring in the subject and statistically analyzed to examine difference between the two groups. The result of the survey and statistical analysis is as follows: First, regarding suitability of images by external factor between the two groups, significant difference was found in heterogeneity: exhibition display of Metropolitan China Exhibition Hall and unity: Stedelijk Art Museum, but not in other factors. Second, the two groups showed significant difference in the most memorable element and most curious element of exhibition display. The expert group showed the highest frequency in transgression and interactive while the student group also showed the highest frequency in interactive exhibition. Third, the least interesting elements selected by the two groups were, for the expert group, heterogeneity> unity> planarity in the order, while, in the student group, planarity showed 65.9% frequency, which was above average. The narrative perspective arrangement, which induces focused viewing from an intuitive viewpoint, has the effect of being integrated into the hierarchical order and entirety according to the historical and regional context, and often found in exhibits related to Eastern Philosophy, culture, and religion. Multi-view arrangement of exhibits is interpreted by chronotope in which independency and uniqueness of each entity is preserved and, simultaneously, interaction between the entities is formed. For instance, the former, in the South East Asia exhibition hall of Guimet Museum, for instance, displays exhibits based on one-point perspective from which they are integrated and united. In this case, the objects form a first- and second-person narrative system by facing the eyes of the viewers. By contrast, the latter, in Glyptothek Museum, Munich, for instance, has all sculptures face the outside of the space based on a reverse perspective with aesthetic autonomy of the entities, inducing viewing from a third-person point of view. This study discusses narrative viewpoints from a literary perspective and possibility of aesthetic interpretation of exhibition presentations and, in Chapter 4, validity of the experiment and analysis related to holding power, attractiveness, and eye movement path of the visitors’ eye-fixation. In Chapter 4, to identify the relationship of viewing attraction, an eye tracking test was conducted according to viewing holding power, attractiveness, and eye path movement, and relevant data were collected. It was found two types, one is the same of the holding power and attractiveness of the visitors’ eye-fixation the other is not. The same of holding power and attractiveness corresponded with each other in eight out of 13 elements, i.e. linearity, depth, heterogeneity, surplus of seeing, metonymic substitution, picturesque, interaction, and transgression, based on which their relationship with the eye movement path was examined. Therefore, it is notable that factors that induce holding power do not necessarily induce attractiveness of the visitors’ eye-fixation. Chapter 5 analyzed exhibition presentation based on viewing holding power, attractiveness and eye movement path of the visitors’ eye-fixation. It discussed the relationship between chronotope and eye movement based on images in which holding power and attractiveness correspond to each other. Especially, linearity, depth, and the highest score of transgression corresponds to those of holding power and attractiveness, and, also is notable that different eye movement path of each element. Furthermore, regarding the correlation between the chronotope viewpoint in presentation of major exhibitions and viewing holding power, attractiveness and eye movement path were correlated to picturesque, heterogeneity, and transgression, but were either uncorrelated or had ambiguous relationship with other elements. In particular, regarding depth, which is formed by overlapping and repetition in chronotope interpretation, it was found that the chronotope viewpoint does not necessarily induce viewing interest due to analyst results that are contrary to those of viewing holding power, attractiveness and eye movement path of the visitors’ eye-fixation. Therefore, this study proved that there are elements that are correlated and those that are not correlated with one another in chronotope-based approach and visual methodologies related to exhibition display in the museums as the scenes.
|
