포스트휴머니즘으로 바라본 디지털 무용과 몸

Abstract

This study approaches digital dance from the perspective of humans and technology, aiming to elucidate the relationship between the dancing body and images, and to clarify the relationship between the body in digital dance and critical post-humanism. As digital technologies such as digital video, images, and sound are integrated into dance, digital dance shows a distinct difference from traditional dance. In particular, digital images are expanding beyond being merely supplementary elements of expression to become central elements, acting alongside the dancer’s body to overcome the limitations of expressive meaning. It has even reached a point where, based on technical manipulation, images can replace the dancing body. The advancement of technology evokes both caution that it might replace the role of humans and optimism that it might resolve the limitations of dance art. In this context, Flusser’s media theory and the concept of the “human as a project” in digital humanism offer new perspectives on negative or optimistic views regarding images and technology, aiming towards a new humanism. This study analyzes the dancing body centered on the concept of the ‘human as a project’ proposed in Vilém Flusser’s media theory, and approaches digital dance from the perspective of humans and technology to examine the relationship between the dancing body and images. Through this, it was revealed that ‘digital dance’ is technological positivism in that it views technology as a condition for overcoming the limitations of dance art, and the ‘human as a project’ constantly aims towards new human concepts by de-bodying, de-subjectifying, and decentralizing the dancing body. However, it was reaffirmed that the concept of the ‘human as a project’ and the corresponding digital dance are just one type of realization among the various possibilities that the dance genre possesses through technology, and it is not an absolute answer