Jeon Soocheon’s Moving Drawing is a cross continental project carried out for 7days and 8 nights, from 14th to 21st of September 2005 along the Amtrak of United States. In the sense of art history, Moving Drawing falls under the term site-specific installation, emerged in the late 1960’s, as it relies on the railways of limited areas of United States. However, at the same time it holds characteristics of public art as ordinary audience can participate and experience the art work for certain period of time. Since the 1990’s, the concept of art headed towards new trend that cannot be described under frames of traditional modernism. This new work of art attempted art to return to reality and actively fuse with everyday life, and be re-produced by others into copies continuously; currently referred to as neo-conceptualism or global conceptualism. Jeon claims that Moving Drawing falls under a ‘new’ genre of postconceptualism, where existence of both discussion and interactive space is possible together at once. In Moving Drawing, as the audience can live inside the work (train), communication is emphasized by opening the relationship between artwork and audience, and relay of the work is featured on the internet; in this sense, the work falls under neo-conceptualism. The question of this article towards the work begins from this point. How will Moving Drawing be explained by the perspectives of ‘new’ conceptualism? On the reverse, how is Jeon’s Moving Drawing read by the perspectives of ‘new’ conceptualism? This article will reveal that Jeon focused on works introduced in the 1990’S, that encouraged audience participation and strategically used theory of Nicolas Bourriud who invented ‘relational aesthetics’ and ‘relational art’. Furthermore, as a result, the art tendency of the artist will be described as Nomadism. The term Nomadism originated from Nomad, who continuously moved in search of new life, referring to inclination of action where one endlessly searches for new identity free from specific norms or values. In ‘Difference and Repetition’ by French philosopher, Gilles Deleuze in 1968, the world of Nomad was described as ‘world of moving visual’, which continued to be used as philosophical term ‘Nomadism’. The term refers to continuous search of new things beyond traditional value and philosophy, and in an artistic sense, it refers to artists, with avant-garde spirit, exploring the new world by crossing between various academic fields. Despite artists working with various post-conceptual tendencies, research on them is lacking in the current art scene, and hence, this article is important and valuable attempt.

목적 : 대상의 내적정보 중 라인드로잉이 대상 재인에 미치는 효과를 알아보고 형태항상성에 중요한 역할을 한다는 사실을 제시하고자 한다. 연구방법 : 실험은 물리적 대응과제를 사용하였으며, 나중에 제시되는 대상은 먼저 제시되는 대상과 같거나 다르다. 즉, 연속적으로 제시되는 두 대상이 물리적으로 동일한 대상인지를 신속․정확하게 판단하는 데 있어서 대상의 제시방식과 회전 정도의 효과를 비교하였다. 결과 : 결과는 모두 라인드로잉이 대상재인에 효과적인 것으로 나타났다. 라인드로잉이 윤곽보다 신속․정확하게 재인되었으며, 음영과는 차이를 보이지 않았다. 그리고 물리적 대응에서는 대상의 회전 정도가 재인의 정확도와 반응시간에 영향을 미쳤다. 특히 방향이 가장 압축된 모양으로 제시되었을 경우에 라인드로잉의 효과는 더욱 명확한 것으로 나타났다. 결론 : 대상재인과 형태항상성에 대상의 내적 정보가 긍정적인 영향을 제공한다. 그 중 라인드로잉은 대상재인에 긍정적인 속성이자 단서이다.