• Journal of Korean Society for Geospatial Information Science
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• v.7 no.1 s.13
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• pp.29-40
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• 1999

In vector GIS, natural linear entities (called linear entitles) are usually represented by a set of line segments. As an alternative of the line segments, curve segments can be used to represent the linear entities. The curve segments, as one-dimensional spatial objects, we generated by spline interpolation technique such as Bezier technique. In an effort to improve its accuracy in resembling the linear entities, the Bezier technique was modified generating a new technique (called New technique) (Kiyun, 1998). In this paper, validity of the New technique was tested. Test focused on answering two questions: (1) whether or not the curve segments from the New technique replace line segments so as to enhance the accuracy of representations of linear entities, and (2) whether or not the curve segments from the New technique represent the linear entities more accurately than curve segments from the Bezier technique. Answering these two questions entailed two hypothesis tests. For test data, a series of hydrologic lines on 7.5-minute USGS map series were selected. Test were done using t-test method and statistical inferences were made from the results. Test results indicated that curve segments from both the Bezier and New techniques represent the linear entities more accurately than the line segments do. In addition, curve segments from the New technique represent the linear entities more accurately than the line segments from the Bezier technique do at probability level 69% or higher.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.126-141
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• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.44-57
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• 2019

As dance performances in the theater space are centered on text, they have plots and make characters stand out. They also emphasize expressivity and technique, and their recognition of space is very modern and typical of dichotomous Cartesian thinking. The museum space has many similarities with the theater space in that it is a result of modernity and granted authority to present arts. The performances in museums place value more on the presence than on the representation. For this reason, works in museums, which are frequently presented in recent years, are mainly works of site-specific or performative concepts. Now, rather than being able to obtain from aesthetics defined as works, the museum is assured its own aesthetic production and justification, paying attention to the performance as an event occurring now and here.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.171-208
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• 2013

Site-specific performance is always the real on-site work taking place at the site. Hence, it deals with the reality, in other words, the time of creation and formation. And it creates value and meaning through the interaction and continuous direct communication process between the performers, audience and the local residents. In this performance, the audience's status as the passive observer changes. They become the co-agent who actively lead and complete the performance through their own experience. We have examined the The Working Methods of Site-specific Performance and Aesthetics of Effect through four Korean performances ; Marie, An aesthetic experiment of site as the storyteller; Heterotopia and Urban Movement Research or Play: We Will Move Your Sofa, as performances which have Revealed history, politics, institution engraved in the site ; A Song of Mandala and Miracle, as a ritualistic site-specific performance at the historic site. Some remarks on Site-specific performance ; First, In Site-specific performance, the habitus peculiar to the stage art and the mode of reception are changed. Second, a new mode of theatrical communication requires creator and audience to have a sharp aesthetic sensibility and to change one's perceptual habit. Third, Site-specific performance can act as a demonstration for the viewpoints of political activism through what could be called a dramatic close-up effect. Fourth, Site-specific performance also has the risk of merely becoming an unfocused and scattered performance or degenerating into a pseudo-sightseeing. To avoid this, an in-depth study of the site and its socio-cultural context, and the clear motivation with which one is trying to reveal and tell from the site must be indispensable. As the co-agent, the audience should also be aware and think about what the given performance signifies today.

• Cross-Cultural Studies
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• v.21
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• pp.189-211
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• 2010

The purpose of this paper is to 1)examine the current state of cultural studies in Korea with a focus on recent discourses about its 'crisis' and 2)attempt to find some ways out of these dilemmas in drama/theatre/performance studies. As Raymond Williams redefined 'culture' as 'a whole way of life,' performance studies has expanded the boundary of 'performance' from traditional performing arts onto almost everything that can be studied and analyzed 'as' performance. Performance is not only the final product on display but a whole process that includes training, workshop, and rehearsal of culture. According to Richard Schechner, workshop and rehearsal are the most critical and creative 'liminal' phases that allow traditional knowledge and alternative challenges to coexist in conflict and intentionally delay the final decision by putting itself in a perpetual process. From this view, this essay attempts to find an-no matter how limited and temporary-answer to or a possible exit from political and theoretical aporias of cultural studies.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.117-167
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• 2019

The aim of this article is to illuminate the Park Yeol(朴烈)·Kaneko Humiko(金子文子) Case from the perspective of performance, by analyzing newspapers published in Colonial Korea. The Park Yeol·Kaneko Humiko Case include the High Treason Incident(大逆事件) case and the mysterious photo(怪寫眞) case that occurred in Tokyo in Imperial Japan from 1923 to 1926. Even though Park Yeol·Kaneko Humiko were individually imprisoned during this period, they proceeded to act shrewdly and preposterously as performers. First, they made the trial itself into an astonishing case by donning traditional Korean clothes and insisting on using the Korean language in Japanese Imperial Court. Second, they caused the judge in charge to accidentally take the so-called 'mysterious photo,' which later led to the collapse of the Japanese cabinet. The newspapers published in Colonial Korea served as unique stage on which Park Yeol and Kaneko Humiko performed. The newspaper articles reported on the public trials as if it were a drama, describing their clothes, look, and dialogue in public court. The news about them was published not as it occurred but in a plotted sequence because of a press ban, consequentially building suspense among readers. Meanwhile, the Korean newspaper editorials pointed out the injustice of the High Treason Incident, breaking down the Japanese judge's opinion. The Park Yeol·Kaneko Humiko Case was a social drama that revealed the disharmony that led to the breakdown of Taisho Democracy and imprinting national resistance in Japan as well as in Korea.

• Journal of Digital Convergence
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• v.10 no.5
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• pp.193-197
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• 2012

On this paper is the project about which is base on Interactive Media Arts technology. What's more, the audience not only enjoy the images or performances on screen but also appear to be one important element in such interactive media. Therefore, it's function is to combine Physical computing and other perception like the musical instruments playing, then finally arriving to be real-time and capable to be interactive.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1246-1251
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• 2009

Second Life is a massive multi-user on-line environment; "a 3D virtual world where users can socialize, connect and create using voice and text chat" (http://www.secondlife.com). The paper explores the process and methods to establish a contemporary art exhibition that incudes various shapes and characteristics of art; paintings, 3D sculptures, time-based video arts, technical based arts, and so on. We have also discuss about the technical limitations to make virtual museums in the Second Life and recognitions between human and art works.

• Journal of the International Relations & Interdisciplinary Education
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• v.4 no.1
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• pp.1-18
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• 2024

This study is a qualitative case study on the experience of an on-site, audience-participatory educational play conducted by four college students majoring in theater under the title 'Hooni and Choroki' for 7-year-old kindergarten students about to enter elementary school. The core theme of the play is to help relieve anxiety about school life before entering elementary school and to communicate smoothly with peers. To this end, college students participate in scenario planning, kindergarten recruitment, and 40-minute training at three kindergartens. He even conducted theatrical performances. As a result of the study, the key components of 'another growth in my life', 'improvement of happiness through meeting children', and 'new challenge toward dreams' were derived. The greatest significance of this study is that the audience-participatory educational theater experience allowed college students to practice sharing the results of their learning with someone else, and through this practice of sharing learning, they were able to realize their somewhat vague career paths and dreams. It was an opportunity that allowed me to experience 'improved confidence' and 'a resonance in my heart' so that I could set a direction. We hope that future educational theater with audience participation will be widely implemented in various aspects.

• Journal of Science and Technology Studies
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• v.19 no.2
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• pp.1-40
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• 2019

Built upon ethnographic method such as participant observation and in-depth interview, this study analyzes the material culture of electronic flower auctions at Yangjae Flower Market. From the viewpoint of Actor-Network Theory(ANT), this research examines how human actors like dealers and auctioneers interact with nonhuman actors such as market devices and these interactions form networks called "agencement." This research is focused on three main objectives: first, to study how the performance of auctions - i.e. the interactions between auctioneers and dealers - change in the wake of new market devices in the auctions; secondly, to look into what changes artifacts bring to the social relationships between auctioneers and dealers; lastly, to analyze the influence of new market devices on auction price in the market. The results of this research are as follows. First, the appearance of new market devices generates changes in the performance of auctions, which means the change of 'agencement' of flower auctions. Direct interactions between auctioneers and dealers turned into indirect interactions through new market devices. Moreover, the changes in the agencement brought changes to the identity of auctioneers and dealers. Secondly, the new agencement caused by the inflow of new market devices formed the trust between the devices and human actors, which gave rise to the trust in electronic auction and in counterpart actors as well. In addition, new market devices lowered direct interactions between auctioneers and dealers and thus made more equal relationships between the two than before. Lastly, market devices like trading screen reduced the leverage of auctioneers by providing dealers with bidding information previously possessed by auctioneers much openly and dealers were able to decide auction prices in more reasonable and dispassionate manner. Economic agency, power, trust, price, and information in the market is material and sensory.