시뮬라르크로서의 현대 춤 디지털 이미지: 무라드 메르조키의 《Pixel, 2014》을 중심으로 (Digital image in contemporary dance as simulacre :focused on 《Pixel, 2014》 by Mourad Merzouki)

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 29권 / 4호 / 63 ~ 79페이지
· 저자명 : 나수진

초록

The arts of dancing has been conducting various experiments and making different attempts to overcome the limitation of expression using advantages of the digital technologies.
In this process, the digital image has increasingly gained independent status from the dependent and subordinate level of tool and become the core creating and delivering its meaning on its own, just like the body. Focusing on this phenomenon, the researcher suggests the theoretical basis of existence, independence, and creativity of the digital images shown in 《pixel》 of Mourad Merzouki in the light of the concept of simulacre formulated by Gilles Deleuze and analyzes features of the images in this work.
The digital images in 《pixel》 focuses on capture and disclosure of power, which can be the core of the art theory of Gilles Deleuze. Mourad Merzouki formed the digital images of various aspects embedded in ‘Power’ to represent the invisible theme of ‘Power’, structured the concept of ‘Power’ through differences and repetitions among these images, and took it to the cognitive area.
This is why the images in his work are not merely accessorial means to expand and strengthen expressions, but independent and substantial ‘Dancing Partners’ that become the center of meaning-creation by working together with human dancers and forming and leading the entire work.
As a result, 《pixel》 approaches how the image substantiates itself and creates its meaning in the digital era from the concept of simulacre of Gilles Deleuze, and it shows the image as a way to understand existence and such possibility by overcoming the negativity of the image which is recognized as fabrication and fake.

영어초록

The arts of dancing has been conducting various experiments and making different attempts to overcome the limitation of expression using advantages of the digital technologies.
In this process, the digital image has increasingly gained independent status from the dependent and subordinate level of tool and become the core creating and delivering its meaning on its own, just like the body. Focusing on this phenomenon, the researcher suggests the theoretical basis of existence, independence, and creativity of the digital images shown in 《pixel》 of Mourad Merzouki in the light of the concept of simulacre formulated by Gilles Deleuze and analyzes features of the images in this work.
The digital images in 《pixel》 focuses on capture and disclosure of power, which can be the core of the art theory of Gilles Deleuze. Mourad Merzouki formed the digital images of various aspects embedded in ‘Power’ to represent the invisible theme of ‘Power’, structured the concept of ‘Power’ through differences and repetitions among these images, and took it to the cognitive area.
This is why the images in his work are not merely accessorial means to expand and strengthen expressions, but independent and substantial ‘Dancing Partners’ that become the center of meaning-creation by working together with human dancers and forming and leading the entire work.
As a result, 《pixel》 approaches how the image substantiates itself and creates its meaning in the digital era from the concept of simulacre of Gilles Deleuze, and it shows the image as a way to understand existence and such possibility by overcoming the negativity of the image which is recognized as fabrication and fake.

참고자료

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