디지털 영상시대 무용수의 몸 (Dancing Body in Digital Image Era)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 37권 / 37호 / 63 ~ 84페이지
· 저자명 : 이지선, 김말복

초록

This study focuses on the changes of corporeality which is secured when dance utilizes digital technology as art that takes the human body as the primary tool in order to analyze the meaning of media aesthetics which a dancer’s body and movement have in this age of digital image. Various kinds of ‘digital imaging technology’ being used in the mediation of dance determine the formality and messages of today’s art of dance. This researcher intends to focus on the fact that such status of mediation precipitates the dancing body in the art of dance to either extinction or extension.
Currently, the digital mediation in contemporary dance shows the aspects of technological expression to ‘digitalize’ and ‘visualize’ chiefly dance or dancers. Here, if the most basic mediation technology to digitalize movement is motion capture, visualizing those data can be realized through animation and image projection. And to that, real-time mapping and interaction are added in order to produce the new-dimensional body and movement of dancers freed from corporeality.
The digital mediation of dance through motion capture, animation, and image projection reconstructs the dancer’s body into the machine-body adopting digital technology, the digitalized body information into the animated image-body, and that into the space-body to which digitalized body informatiㅁon is projected. The digitalized body liquefies unitary corporeality as the organism of the dancer’s body and movement and has intercorporeality with objects outside the body, weakens the dancer’s intelligence and arouses tactual illusion, and deconstructs and reconstructs the body. By capturing and digitalizing the dancer’s body and making it an image through animation to project it to the space, the dancer’s body is duplicated, edited, and fragmented by technology, and at the same time, it is desubjectivated and decontextualized from the subject’s socio-cultural background. The dancer’s digitalized movement of the body should be seen from new digital corporeality, not the mere extension or extinction of it.

영어초록

This study focuses on the changes of corporeality which is secured when dance utilizes digital technology as art that takes the human body as the primary tool in order to analyze the meaning of media aesthetics which a dancer’s body and movement have in this age of digital image. Various kinds of ‘digital imaging technology’ being used in the mediation of dance determine the formality and messages of today’s art of dance. This researcher intends to focus on the fact that such status of mediation precipitates the dancing body in the art of dance to either extinction or extension.
Currently, the digital mediation in contemporary dance shows the aspects of technological expression to ‘digitalize’ and ‘visualize’ chiefly dance or dancers. Here, if the most basic mediation technology to digitalize movement is motion capture, visualizing those data can be realized through animation and image projection. And to that, real-time mapping and interaction are added in order to produce the new-dimensional body and movement of dancers freed from corporeality.
The digital mediation of dance through motion capture, animation, and image projection reconstructs the dancer’s body into the machine-body adopting digital technology, the digitalized body information into the animated image-body, and that into the space-body to which digitalized body informatiㅁon is projected. The digitalized body liquefies unitary corporeality as the organism of the dancer’s body and movement and has intercorporeality with objects outside the body, weakens the dancer’s intelligence and arouses tactual illusion, and deconstructs and reconstructs the body. By capturing and digitalizing the dancer’s body and making it an image through animation to project it to the space, the dancer’s body is duplicated, edited, and fragmented by technology, and at the same time, it is desubjectivated and decontextualized from the subject’s socio-cultural background. The dancer’s digitalized movement of the body should be seen from new digital corporeality, not the mere extension or extinction of it.

참고자료

· 없음