• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.253-258
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• 2021

This study aims to expose the potential dangers of K-pop through the past and present of K-pop choreography copyrights and to suggest the need to secure digital choreography copyrights for the sustainability of K-pop considering national responsibility. As the content industry quickly sought countermeasures to digital transformation, such as the launch of K-pop platforms and the evolution of OMO (Online Merges with Offline) media commerce in response to changes in the industrial environment due to COVID-19, the annual export of the domestic content industry increased by 6.3% compared to the previous year. Accordingly, our copyright does not require that works be fixed in tangibles, as in Japan and Germany, on the basis of entrusting each country's legislation to determine whether to require fixation on choreographed works. On the other hand, the United States, France and the United Kingdom are demanding that it be fixed. Although choreography is at the center of K-pop and the value and influence of K-pop videos including cover dance through new media are discussed from various perspectives, copyright on choreography that needs to be resolved in business platforms for K-pop scalability The fact that there is such a big difference in problem perception is an area where we must not lose our vigilance. As the development of today's technology, the method of fixing a choreography looks very easy as an image, but at the same time can be stolen very quickly. Therefore, compared to overseas cases, it is urgent to improve the difference in perception of copyright registration for K-pop choreography and to supplement the system include the NFT.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.29 no.9
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• pp.10-13
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• 2015

Stage lighting plays a significant role in drawing out the mood and images that are intended by the choreographer. It is related to the dancers' movements and affects them both directly and indirectly. This study is on a reciprocal relationship between dance choreography and stage lighting, covering a broad range of functional factors of lighting effects on the dance choreography. Also, the data on preferred lighting colours and their frequency of usage are gathered through surveys by lighting specialists. The data is used to identify the lighting colour in general dance choreography. It is collected to serve the purpose of providing opportunities to acknowledge the needs of various colour changes on the stage. It is hoped that a collaboration of studies related in this subject are continuously promoted and researched in producing high quality dance performances.

• 한국체육학회지인문사회과학편
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• v.55 no.6
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• pp.625-641
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• 2016

The purpose of this study was to establish unified standards on the scope of protection of choreographic works and to suggest methods for the protection of choreography copyright. 20 experts was selected among dance experts or copyright experts and depth interview method, Delphi method and AHP analysis were used. The result was summarized as follows : First, 50 percents of the experts thought pure dance works and popular dance works should be protected by same standard, while 45 percents of the experts suggested different standard. Second, 55 percents of the experts claimed required fixation on certain medium, while 40 percents did not claim required fixation but only expression. Requirement of originality was to independently create choreography and to reflect creative characteristic(65%). 70 percents of experts were positive on defining dance choreography as independent work, while 25 percents were negative. Elements of the choreography protection scope were in following order of importance: pattern of movement, creative and concrete plot, combination of movements and steps, and movement pattern with specific space. Third, methods for the protection of dance copyright in hierarchical classification were in following order of importance : 'copyright education', 'activation of organization of dance copyright trust management', 'choreography registration' and 'inducement of social concern. Fourth, 'Active participation of dance copyright trust management organization' was thought as the most important development plan. 'Improvement of dancers' awareness of copyright', 'inducement of choreography registration', and 'reinforcement of copyright education' followed in order.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.102-110
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• 2008

In choreography, the relationship between body and space is fundamental. Not only in the performing arts, it is an essential part in space design as well. In this sense, the comparison study between performing arts and space design will have various helpful aspects from which a creative design can be derived. This thesis aims to study spatial characteristics and expression methods in the choreography of performing arts that is dance in this case. The general background study of the relationship between body movement and space design in the modem art and architecture was explained in advance. And then its application in choreography was studied. Two case choreographers were selected: Merce Cunningham and Frederic Flamand. They have unique ways of designing and choreographing the relationship between body movements and stage spaces. This thesis attempts to find the differences as well as common characteristics between the two choreographers in terms of how they relate bodily movements and emotions into the given space.

• Journal of information and communication convergence engineering
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• v.4 no.1
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• pp.1-4
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• 2006

Recently Web Services choreography working group of W3C has published the working draft on WSCDL (Web Services Choreography Description Language) version 1.0 which defines reusable common rules to govern the ordering of exchanged messages between Web Services participants. This paper considers a computing environment where mobile clients are interacting with Web Services providers based on a WSCDL specification. In order to effectively cope with the user and device mobility of such an environment, in this paper we present an ongoing work to develop a framework through which a mobile client can specify its preference on how conversation should take place. The proposed framework provides a flexible means for mobile clients to minimize the number of message exchanges while allowing them to adhere to the required choreography.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• v.9 no.2
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• pp.1011-1014
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• 2005

하나의 웹서비스가 이 와 연동하는 클라이언트와 1회 이상의 연동(interaction)을 필요로 할 경우, 웹서비스에서는 이를 명확히 정의하는 규약이 필요하게 되는데 이를 안무(choreography) 또는 대화(conversation)라 부르며, 총칭하여 협업 웹서비스 기술로 부른다. 최근 W3C는 웹서비스의 안무를 위한WS-CDL(Choreography Description Language)를 개발 중에 있으며, WS-CDL은 웹서비스들 간의 전체적인 안무 교환이나 메시지 교환을 정의 한다. 그러나, WS-CDL은 연결성 (connectivity)이 항상 보장되지 않는 모바일 환경이나 사용자가 이동하는 경우에 사용하기에는 비효율이 따른다. 본 논문에서는 WS-CDL개발 동향에 대 해서 살펴 보고, 가지고 있는 문제점을 보완하기 위한 방안을 제시한다.

• 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.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.1 no.1
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• pp.33-51
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• 2007

There are two newly emerging research issues in the enterprise information systems literature. One is the scalability issue for rapidly increasing choreographic volumes between interrelated organizations. The other is the business intelligence issue for traceable and monitorable business processes and services interchanging e-Business data and applications across organizations. Based upon these emerging issues, through a functional extension of the ebXML technology we have developed a process-driven e- Business service integration (BSI) system, which is named ‘e-Lollapalooza’. It consists of three major components ? the Choreography Modeler coping with the processdriven collaboration issue, the Runtime & Monitoring Client for coping with the business intelligence issue and the EJB-based BSI Engine coping with the scalability issue. This paper particularly focuses on the e-Lollapalooza’s development aspects for supporting the ebXML-based choreography and orchestration among the engaged organizations in a process-driven multiparty collaboration for e-Logistics and e- Commerce services. Here, it is fully deployed in an EJB-based middleware computing environment for e-Logistics process automation and B2B choreography.

• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.227-234
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• 2022

This study identified the characteristics of surrealistic art and examined the choreography method based on the representative work of choreographer William Forsythe. Forsyth developed into a ground breaking performing art through surrealistic characteristics and his own method, and sought to find a new body image based on this original choreographic approach. Through this, it was found that the destruction and dismantling of forms, which are surrealistic art characteristics, appeared as separate movements, space reconstruction, and special objects in the choreography method of Forsythe. Therefore, the purpose of this paper is to investigate the characteristics and forms of surrealism and to identify the surrealistic elements that appear in William Forsythe's.

• Journal of Internet Computing and Services
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• v.13 no.1
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• pp.83-98
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• 2012

Recently Web services and SOA(Service Oriented Architecture) is widely used for an effective integration way of distributed applications. The service choreography is a way of service compositions to define workflows and the message exchange protocols among several partner ser-vices in the B2B business process environment. It defines the overall business process from a global perspective. However, it must be transformed into some kind of the executable form to implement service compositions, because it does not support an execution mechanism but is a de-clarative form. Therefore, the transformed executable model must be validated with the original choreography model to guarantee behavior equivalence. In this paper, we propose the conformity assessment with respect to service compositions method between the choreography model and the transformed executable model. And we suggest the test method to show behavior equivalence between them from a viewpoint of the dynamic execution.