• Trans-
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• v.12
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• pp.1-19
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• 2022

This study predicts and raises the changes that AI will bring to dance art when machine-based choreography began, and finds questions we can ask as human artists. Research suggests that one of the crises of dance in the era of machine creative arts is that artificial intelligence does not stay in the tool of human choreography but becomes the subject of choreography. It is based on the political discourse of choreography that artificial intelligence has the power to control and restrict human dancers. This comes from a sense of crisis that the AI takes over the area of choreography and the human choreographer remains an incompetent coordinator, and as a result, the dancer's dancing body can be reduced to a mechanical body controlled by AI. In order for these concerns not to become a reality, this study proposes three measures. First, choreographer and dancer should develop digital literacy to live in the age of AI art. Secondly, choreographer should acquire the ability to accurately distinguish the roles of human choreographer, dancer, and AI in creative work. Thirdly, various levels of discourse on AI dance should be formed by actively conducting mutual media research of dance and technology. Through these efforts, the human dancer will exist as a subject of art, not a passive agent in the new dance ecosystem brought by the innovation of artificial intelligence technology and will be able to face an era coexistence with artificial intelligence creativily and productively.

• Women's Studies Review
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• v.26 no.1
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• pp.73-108
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• 2009

In the post-industrial society, concerns about the body have devoted to extend the concept of body from its physical level to the spiritual and corporeal level. Now body is not only an instrument which expresses one's personal character, but also an abstract concept which shows one's identity. Through this tendency, body image as a representation becomes notable as much as physical body itself. This tendency has been exaggerated especially for women and the socio-cultural common notion is forcing them to internalize it by presenting several stereotypes of body image. The concept of body image, a rising academic subject becoming a socio-cultural matter of interest, bears an epistemological base about spirit, body, and individual/social character. As the discussion about body develops in the field of women's studies, deepened discussions about body image are in progress. In this article interaction between the making of stereotypes of the female body in the socio-cultural circumstance and the process of internalization of these stereotypes is analyzed. For the analysis, the hypothesis was established that this interaction constructs the making process of body image. The analyzed materials are images and texts for advertisements, and other materials for public relations which are posted on the homepage of body-line consulting company M. The results of this analysis are to summarize as follows; the stereotypes of the female body image in Korea are very similar to those of westerners, and male gaze plays a big role in the construction of female body image through the internationalization of the gaze by women. According to these results, it is necessary to consider the effort that women should strive to produce and to develop healthy female body images.

• Korean Journal of Social Welfare
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• v.64 no.2
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• pp.85-109
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• 2012

This qualitative study explored a middle-aged lesbian's life and her identities by the oral life history approach in feminist epistemology, where the participant is not the object but the subject of knowledge. The participant kept her own perspective that her homosexuality was not intrinsic but constructed. In her life's history, she was a "docile body" accepting socially constructed historical meaning of homosexuality, as well as a "resistant body" protesting against social discrimination and oppression for homosexual population. She overcame an embedded negative recognition of her scaled injured body and her sexuality as "deficient". Finally, she showed an amazing resilience and an indomitable spirit for reconstructing the meaning of her body as "blessed." Beyond the deficient body, as an active agent not the pathologic sexual minority, she could cultivate compassion and empathy for others. From the results, it is important how to place gender and sexuality in the context of social work theory and practice. Sexuality, not sexual orientation, is 'our' collective agenda to address the social problems which were associated with social hierarchy, inequality, and injustice.

• Korean journal of communication and information
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• v.62
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• pp.30-50
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• 2013

Exploring the relationship between body and technology in gender studies, this paper argues that 'being women' as an analytical concept is not fixed but progressing, that is, 'becoming women.' In the age of neo-liberalism, gender and identity politics raised critical questions regarding the relations between women and technology. Understanding these dynamic relations asks us to reconsider the concept of 'body.' Thus, this study begins with a review of the discourses of body in feminism and gender studies. Then, it continues to the meaning of technology in body and gender relations, arguing that body is the discursive and material site where gender identity and being are simultaneously constructed. An introduction of cyberfeminism, which focuses on the triangular relations among body, gender, and technology follows, discussing the significance of technology in 'becoming women.' Finally, it is argued that finding the meanings of technology in becoming women requires reconsidering the discursive and performative construction of body. 'Becoming women' can be achieved through exploration of the articulations and processes of body, gender and technology, which allows us to figure out the (re)construction of gender identity.

• The Journal of Korean Philosophical History
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• no.36
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• pp.173-202
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• 2013

In Korea The understanding about physical body contains several cultural and historical experiences. In the modern times several discussions bring about changes from moral training to physical education. Physical education shows clearly modern physical human being by destructions of confusional human being. In confusional philosophy human body contains moral facts such as moral training. Moral training shows right mind, so every physical acts target mental and cultural training. So in this capitalism, it is needed o training right moral training and right physical education.

• Cartoon and Animation Studies
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• s.29
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• pp.77-102
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• 2012

Interactive Media Art has been developed a lot in digital age. Especially, the audience try to make interactions by accessing the world of art as one of main interacting figures, while they used to be totally separated from the art in traditional art. Also, it is one of exclusive features distinguished from the other art genres. In this thesis, the intercommunication process of interactive media art is classified and compared with Merleau-Ponty's corporeity phenomenology theories. Merleau-Ponty's corporeity phenomenology insists integrated perception through body against the western intelligence philosophy focusing on binomial reasons. Merleau-Ponty's corporeity phenomenology, which suggested the new perception way towards the art, is analyzed in this thesis by comparing it with detailed factors of Intercommunication process of Interactive Media Art. The Intercommunication process of Media Art is classified into , , , , . Additionally, they are studied and compared with the concept of , , , , out of Ponty's corporeity phenomenology theories. Therefore, it is concluded clearly that corporeity, synesthesia, poly sensation and spaciality drawn from Intercommunication process of Media Art have something in common with Ponty's corporeity phenomenology theories rather than the other art genre or minimalism art styles. Furthermore, a new direction of study upon modern Interactive Media Art is suggested.

• Journal of Christian Education in Korea
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• v.62
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• pp.43-74
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• 2020

This paper examines the epistemology of the body and the direction of Christian education based on it. Looking at Merleau-Ponty, Damagio, and Nelson's epistemology of the body, it found that they had a common point, even though they studied in different areas like philosophy, brain science, and body theology; the body is a subject that perceives the world in a sensuous and direct way, and is a channel that mediates humans and the world, and plays a decisive role in human self-formation. In particular, theology of body revealed, that the body is a pathway for our understanding of God just as a pathway for our understanding the world. In addition, theology of body revealed that the body is regarded as the place of 'embodiment of God', and in the end, the world in which our incarnated body participates should also become the place of 'God's incarnation'. It also examined Christian education based on the epistemology of the body, focusing on 'education starting from the senses', 'education as a participation', and 'incarnational education'. From these three concepts, it found that epistemology of body suggests an alternative view of traditional knowledge-based education or schooling education. It suggests an open paradigm centered on sense and experience, personal participation, non-verbal experience, and field of education, beyond a fixed and closed paradigm of doctrine-centered, objective knowledge mediation, language-centered, and content-centered. Furthermore, this paper found that the body is like a well that can pump up metaphors that provide a basic metaphor for re-conceptualizing Christian education.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.517-522
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• 2012

The work to be analyzed in this study is an animation showed in 2006, which was made by Director Satoshi Kon on the basis of a Japanese SF novel written by Yasutaka Tsutsui. The key point is to create a new meaning through showing imaginative power of audiences from the world flying across the borderland between reality and fiction. It regarded suitable for analysis of the borderland appearing in the unconscious world of dream and reality through "abjection". Therefore, this study intends to analogize the conclusion through analysis of the animation focusing on the theory of Julia Kristeva. Abject appears as the phenomenon which cannot be disappeared and the one threatening to disunite which the subject had already organized in the symbolic. The self-feeling of characters is not stable and it keeps watch constantly on the one which may neutralize his caution. They are looking for the power to strengthen the life granting to the subjecthood by chora as the resisting power against the symbolic order. That is, the dreaming space where revengeful power of primitive libido is working and shows mother as Paprika as well as enters through DC mini, works as the semiotic chora as "maternal body". The healing of mental lack in the symbolic caused from here is connected on the borderland to divide between meaning and meaningless as well as normality and abnormality in the semiotic and this is the maternal power of the semiotic. Therefore, "abjection", "abject" and "chora" as well as care and healing of the other self appearing in the subjectivization process in the can be regarded as the one caused from the love towards the subject to be analyzed.