• Journal of Digital Contents Society
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• v.11 no.2
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• pp.123-127
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• 2010

Innovation in technology has changed the form and meaning of performance work and its appreciation in its long history. Applied to performance art, the concept of digital media and ubiquitous also created new implications in aesthetics and technology. As a matter of fact, new elements of ubiquitous performance- new relationship between creators and the audience and the extension of the notion of 'audience'- are not newly introduced. These elements have been tried throughout hundreds years of performance history and is far more developed thanks to digital communication. In this study, we will discuss how these elements have been developed from the earlier text-based ubiquitous performance to 3D virtual world and contributed to the construction of the virtual culture.

• Cartoon and Animation Studies
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• s.34
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• pp.129-165
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• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.103-108
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• 2008

Art is an ongoing process of experimenting and challenging. The challenge and experiments of the artists encompass both the conceptual process and the expressive process of creating artworks. It is not mandatory to use cutting-edge technologies for interactive performances, since they can be realized by adapting pre-existing technologies. Using previous technologies reduces the difficulties in the production process and makes it easier for the audience to understand the way of participation. In this paper, propose an ARS-server-based control system in which a large audience can participate during a performance to control certain features on stage. This system was first proposed during the 'Ubiplay Workshop and Seminar' hosted by the GSCT, KAIST, and applied to the digital performance 'Syntasia' in June and July, 2007, hosted by the Goyang Culture Foundation.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1287-1292
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• 2009

There have been many experiments and researches of virtual marionettes which mostly focused on controlling the marionettes more delicately and precisely. This paper will prove that performances using virtual marionettes can show more than simply controlling other objects delicately and precisely. The performance that this paper is discussing about used not only a virtual marionette but also an actual marionette. In this performance, a human manipulated an actual marionette and the actual marionette controlled a virtual marionette. This performance is meant to represent a controlling relationship between an actual world and a virtual world. This recursive and duplicate process will show that experiments using virtual marionettes can express more diverse objectives than existing experiments.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.215-220
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• 2023

Network technology used as a physical interface to retrieve, store, and exchange data is leading the era of data capitalism in the 21st century. The capacity of network technology dominates almost all communication in everyday life, and makes social understanding and experiences in the physical world visible in cyberspace. The movements of human bodies and objects in cyberspace are placed in a social context. This paper paid attention to these phenomena and examined the cases of activism that raised real problems through cyberspace. In particular, the focus of the study is the digital activism of the Electronic Disturbance Theater, which combines critical art and thinking for democracy with the realm of information and demonstrates aesthetic imagination. The first chapter of the main body briefly outlines the meaning activism as a social movement in cyberspace. The second chapter looks back on the alternatives of <FloodNet>, which represents the early activism performance of EDT. And then in the last chapter, the poetic significance of the <Transborder Immigrant Tool> is analyzed. Through this process, this paper demonstrates that the activism performance of the EDT is a critical aesthetics that encourages imagination for alternatives. It also argues that Electronic Disturbance Theater has contemporary value as an avant-garde art that actively utilizes the medium of network technology and integrates performance art and politics.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2001.05a
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• pp.100-105
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• 2001

The space in today's digital era is developing in a new direction with the changing paradigm, which is different from that in the analog era. The space that appeals to the advanced technology mobilizes all the five senses of the space user with the technical elements of the more variable fields and aesthetic productions, and creates an interactive environment by motivating the user's active participation through the digital media. The environmental device called digital media connects the function pace with living performance. Unlike in the analog space, the different sides of the digital media space create a human consciousness that corresponds to the realistic ambience, further contributing to the lively condition. For the main production technique in the digital medias performance-active space, there are electronic image production, changeable production, impromptu-active production, light and sound production, and total artistic production that lead to the progressive interaction between man and space.

• Digital Contents
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• no.9 s.160
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• pp.90-93
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• 2006

흥행의 귀재 스티븐 스필버그가 오랜 동료 로버트 저메키스와 함께 제작한 애니메이션 <몬스터 하우스>는 제목 그대로 집 자체가 괴물인 영화다. 집 창문이 야수의 눈처럼 이글거리고, 양탄자가 혓바닥이 되어 세상의 모든 것을 집어삼킨다. <몬스터 하우스>는 그렇게 낯선 폐가가 주는공포를 기발한 상상력으로 완성해낸다. 특히 배우들의 움직임과 표정을 세밀하게 포착한 퍼포먼스 캡처기술을 사용해 마치 실사와 같은 테크닉을 발휘하며 작품속에 몰입하게 만든다. 메가폰은 스필버그가 발탁했다는 신인 감독 길캐넌이 잡았고, 각본은 <유령신부>의 파멜라페틀러가 썼다. 다양한표정연기를 선보이는 캐릭터들이 선사하는 유머와 공포를담은<몬스터하우스>의매력을 되짚어본다.

• Digital Contents
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• no.3 s.58
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• pp.46-52
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• 1998

오라클 8의 발표를 기점으로 향후 관계형 데이터베이스의 판도에 관심이 모아지고 있다. 오라클 8의 강점은 특히 강력한 파워와 유연성에 있다. 오라클은 향상된 퍼포먼스와 대규모로 유입되는 사용자 요구를 효과적으로 조절할 수 있는 기술을 근간으로 보다 강력한 OLTP 애플리케이션의 새로운 제안을 강조한다. 또한 파티션이 가능한 테이블과 인덱스, 대용량 데이터 볼륨 및 객체 구조 지원을 비롯해 데이터웨어하우징 시장도 겨냥하고 있다. 오라클 8의 상세한 기능 및 향후 보완점에 대해 알아봤다.

• Proceedings of the Korea Contents Association Conference
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• 2004.05a
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• pp.562-565
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• 2004

본 작품은 보통의 애니메이션에서 나타나는 캐릭터는 등장하지 않고 거의 시종일관 미술적으로 창조된 이미지들의 애니메이션이다. 흔히 구체적인 스토리에 의해 등장하는 캐릭터들의 움직임 및 그 감정을 표현하는 애니메이션과 본 작품과 같이 구체적인 대사나 캐릭터에 의존하지 않는 이미지애니메이션을 비교해 보면 이미지애니메이션은 감독의 의도와는 상관없이 관객에 따라 느끼는 감정이 다양할 수 있다. 이는 추상미술을 감상하는 것과 같이, 보는 이에 따라 전혀 다르게 해석할 수도 있지만, 전체적인 분위기에서 감독이 의도한 것이 무엇인가를 생각하면서 감상하는 것도 좋은 감상법일 수 있다.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.446-450
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• 2008

Due to the advancement of technology, there are many attempts trying to extend ways of expressing for using digital media, even in traditional theater. In the performances that were created before '미키쥐의 죽음' directors used videos only for the background, however, in 'A Death of Mickey Rat', trying to avoid the same patterns as the ones from the past creators realized an interactive performance with the balancing combination of videos, performer and sounds. As a result, the theater suggested a possibility of a new progress in creating theater by making a created space called the stage gain more reality and adding the power of interactivity between the media and the performer.