• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.279-280
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• 2018

본 연구는 무용공연에서 사용되는 실시간 인터렉티브 미디어 시스템(interative media system)을 사이버물리시스템(CPS, Cyber-Physical System)의 관점으로 분석한 것이다. 4차 산업혁명시대에서 극대화된 가상공간과 현실공간의 연결성과 자동화가 무용예술에서 어떤 양상으로 일어나고 있는지 알아보기 위해 실시간 인터렉티브 미디어시스템을 활용한 무용공연들을 대상으로 연구한 결과, 사이버물리시스템의 연산, 통신, 조작의 과정들은 모션트레킹시스템(motion tracking system)을 통해 물리개체인 무용수들의 움직임, 근육 내부의 반응 등의 정보에 따라 조작되어 소프트웨어의 연산을 거쳐 프로젝션 맵핑(projection mapping)으로 영상으로 출력되는 과정을 거치는 것으로 나타났다. 추후, 다양한 사례연구를 통해 무용공연에서의 4차 산업혁명 요소들을 구체화하여야한다.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.544-554
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• 2018

The purpose of this study is to classify Reality-Virtual Media Connection System in dance field and to analysis cases of dance pieces using Reality-Virtual Media Connection System based on a literature study. It is limited to interactive media dance performances, such as "Glow"(2006) of Chunky Move, "S.U.N"(2011) and "Dalhangari"(2013) of Young ho Nam, "PIXEL"(2014) of ADRIEN M & CLAIRE B, "Midas Space"(2011) of Midas Project. As a result, first, Reality-Virtual Media Connection System is composed with motion tracking system and projection mapping system. Second, each dance piece has various and unique Reality-Virtual Media Connection System. It has influenced on movement and its subjects. Therefore it is suggested to use Reality-Virtual Media Connection System actively by developing of artificial intellectual, awaring potential of internet of things for motion tracking, and increasing communication between dancers and engineers. It is necessary to proceed supplement research on more cases.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.513-518
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• 2006

본 논문에서는 특별한 스튜디오 조명이 아닌 가정용 혹은 학교용 조명 하에서 동작하는 감정 표현이 가능한 그림자 놀이 도구를 소개한다. 이 놀이는 사용자의 실사로부터 추출된 가상 그림자에 사용자의 동작에 따라 실시간으로 반응하는 가상 표정 애니메이션 캐릭터를 투영한다. 이 놀이 도구는 행위전시 등의 공연 환경뿐만 아니라 가정, 학교 등의 일상 환경에서도 동작이 가능하도록 설계되었다. 따라서 가장 일반적인 조명의 하나인 가정용 형광등과 백열등 환경을 가정하였고, 배경에 대해서는 어떤 제약도 가정하지 않았다. 사용자의 실사를 구분하는 과정에는 배경 차분화 기법을 사용하였고, 빛의 산란 및 실제 그림자의 영향 등으로 인한 잡음을 최소화하기 위해 몇 가지 잡음 제거 알고리즘을 결합하여 적용하였다. 이 도구에서 가상 그림자의 표정 애니메이션은 사용자의 손동작에 따라 변화하며, 손동작 및 머리 위치의 추적을 위해 새로이 고안한 자질 기반 추적 기법을 적용하였다. 이 도구는 공연장에서의 인터렉티브 미디어 아트 전시 또는 공연, 아동 대상의 미술 교육, 예술치료 등의 분야에 활용될 수 있을 것으로 판단된다.

• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.533-542
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• 2021

In this study, a process of re-creating Jindo Buk Chum, one of the traditional Korean arts, into digital art using various artificial intelligence technologies was proposed. The audience's emotional data, quantified through artificial intelligence language analysis technology, intervenes in various object forms in the projection mapping performance and affects the big story without changing it. If most interactive arts express communication between the performer and the video, this performance becomes a new type of responsive performance that allows the audience to directly communicate with the work, centering on artificial intelligence emotion analysis technology. This starts with 'Chuimsae', a performance that is common only in Korean traditional art, where the audience directly or indirectly intervenes and influences the performance. Based on the emotional information contained in the performer's 'prologue', it is combined with the audience's emotional information and converted into the form of images and particles used in the performance to indirectly participate and change the performance.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.562-571
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• 2019

The expansion of the performing arts market to include new genres of art that combine art and cutting-edge media technology has surpassed the limitations of traditional theatre art elements such as stage, costumes, lighting, sound, and props, allowing free expression of space-time and visual art. It is growing into a wide area with unlimited potential in the performing arts sector. In response to these changes and the demands of the time, there is an increasing demand for multi-talents who can plan and produce arts and technology-converged contents that will contribute to the development of the performing arts industry. As a result, university departments related to theatre art across the country feel that it is urgent to develop curricula that will enhance students' competency by incorporating the latest media technologies such as virtual reality, holography, and interactive motion sensors into the existing performance art visualization process. In this study, the author will examine the process of developing courses in technology-incorporated theatre art (design) through case studies of media technology-converged performances from the past 10 years. Based on the traditional concept of theatre art, the attempt to fuse stage art with media technology will be a cornerstone of attempts to foster a group of talented artists who transcend the limits of creative visual expression and creative value.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.528-536
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• 2020

As humanoid robot technology advances, the use of robots for performance is increasing. As a result, studies are being conducted to increase the scope of use of robots in performances by making them natural like humans. Among them, the use of motion capture technology is often used, and there are environmental inconveniences in preparing for motion capture, such as the need for IMU sensors or markers attached to each part of the body and precise high-performance cameras. In addition, for robots used in performance technology, there is a problem that they have to respond in real time depending on the unexpected situation or the audience's response. To make up for the above mentioned problems, in this paper, we proposed a real-time motion capture system by using a number of RGB-D cameras and creating natural robot motion similar to human motion by using motion-captured data.