매체미학적 관점에서 본 춤 환영성 연구
A Study on Dance Illusionism from the Perspective of Media Aesthetics
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This study is aimed to contemplate the meaning of dance illusionism in the digital image era from the perspective of media aesthetics. As a perceptual quality of dance movement mediated by digital media, illusionism, here, connotes a meaning of a new media reality as simulacre. Through the discussion on illusionism, this study cognizes the importance of media aesthetics that are used in dance and interprets mediating characteristics of dance as a moving image. At first, the study understood the changes in perception and cognition mediated by media and sought for the new metaphysical value evaluation about illusionism by examining philosophical flow from the Plato’s concept of simulacre to major issues of media aesthetics represented by Jean Baudrillard. The discussion on illusionism in dance regards the perception of dance movement and the structure of acceptance as body, space-time, and interaction and focuses on expanded reality of these three factors affected by digital image media. Moreover, the study interpreted how these concepts are defined by characteristics of respective media technologies through the analysis of remediated media history from film to digital computer in dance. The meaning of illusionism in media aesthetics of dance is explained as the plural subjectivity as image corporeality, multilateral, flexible and complex space-time, and the expansion of synesthetic perception by real-time interaction due to projection technology and real-time motion capture, etc. Through the discussion, the body expanded by digital medial technology and the dance and movement concept of expansion caused by space-time points out convergence of art centering on dance in the digital media era. The dance is out of traditional, aesthetic frame, and has the dance factors are in art and around our life. Such the ubiquity of dance suggests that identical meaning of artworks in the digital media is defined from the meaning of the interpretative and participatory process instead of the importance of art itself.
Abstract
This study is aimed to contemplate the meaning of dance illusionism in the digital image era from the perspective of media aesthetics. As a perceptual quality of dance movement mediated by digital media, illusionism, here, connotes a meaning of a new media reality as simulacre. Through the discussion on illusionism, this study cognizes the importance of media aesthetics that are used in dance and interprets mediating characteristics of dance as a moving image. At first, the study understood the changes in perception and cognition mediated by media and sought for the new metaphysical value evaluation about illusionism by examining philosophical flow from the Plato’s concept of simulacre to major issues of media aesthetics represented by Jean Baudrillard. The discussion on illusionism in dance regards the perception of dance movement and the structure of acceptance as body, space-time, and interaction and focuses on expanded reality of these three factors affected by digital image media. Moreover, the study interpreted how these concepts are defined by characteristics of respective media technologies through the analysis of remediated media history from film to digital computer in dance. The meaning of illusionism in media aesthetics of dance is explained as the plural subjectivity as image corporeality, multilateral, flexible and complex space-time, and the expansion of synesthetic perception by real-time interaction due to projection technology and real-time motion capture, etc. Through the discussion, the body expanded by digital medial technology and the dance and movement concept of expansion caused by space-time points out convergence of art centering on dance in the digital media era. The dance is out of traditional, aesthetic frame, and has the dance factors are in art and around our life. Such the ubiquity of dance suggests that identical meaning of artworks in the digital media is defined from the meaning of the interpretative and participatory process instead of the importance of art itself.
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