도덕적 체화과정으로서 ‘체인’에 관한 신유학의 세 관점 - 주희, 왕수인, 담약수의 체인관을 중심으로-

김윤경 충남대학교 유학연구소 2024 유학연구 Vol.69 No.-

본고는 도덕적 체화의 관점에서 신유학의 체인론을 고찰한 글이다. 신유학의 수양론을 현대적으로 재해석하려면 먼저 ‘체화’와 유사한 표현인 ‘체인’의 개념을 명확히 할 필요가 있다. 본 노고는 이를 조명하기 위해 체인을 강조한 주희, 왕수인, 담약수의 체인 개념을 비교하고, 체인의 결과, 혹은 주체의 개념으로서 ‘진지’와 체인, ‘양지’와 체인, 습심과 체인의 연관성에 주목하였다. 주희, 왕수인, 담약수의 체인론은 도덕적 체화를 위한 공부 방법의 세 가지 유형, 즉 외부 표준의 학습에서 출발하여 내면의 함양으로 들어가 이를 종합하는 유형, 내면의 윤리적 민감성 고양을바탕으로 외부 표준을 검토하는 유형, 그리고 양자를 종합하는 내외합일적 사유를바탕으로 내면의 평정을 유지하여 합일적 본성이 자연히 드러나도록 유도하는 유형을 제시한다. 공부 방향을 기준으로 본다면, 주희는 내향적 체인론, 왕수인은 외향적 체인론, 담약수는 양자의 방법론을 종합하여 내외합일적 체인론을 추구했다고 할 수 있다. 현대의 체화된 마음 개념에 견주어 본다면, 주희와 담약수의 체인론은 ‘체화된 인지이론’과 통하고 왕수인의 체인론은 ‘행화적 인지이론’과 통한다. 이들의 체인론은 신유학이 시사하는 도덕적 체화 방법론 가운데 한 부분으로서, 현재 활발하게 진행 중인 도덕 심리학 연구에 풍부한 경험적 산물을 제공한다. This paper examines the theory of Embodied Realization (Tiren, 體認) in Neo-Confucianism from the perspective of moral embodiment. To reinterpret Neo-Confucian self-cultivation in a modern context, it is first necessary to clarify the concept of Embodied Realization, which is similar to "Embodiment (體化)." This study highlights this concept by comparing the Embodied Realization theories of Zhu Xi, Wang Yangming, and Zhan Ruoshui. It focuses on their connections to notions such as "True knowledge (Zhenzhi, 眞知)" and Embodied Realization, "Innate knowledge (Liangzhi, 良知)" and Embodied Realization, and the role of Habitual Mind (Xixin, 習心) in Embodied Realization. The Embodied Realization theories of Zhu Xi, Wang Yangming, and Zhan Ruoshui present different methods of moral embodiment. Zhu Xi emphasizes a model that starts with learning external standards, and then internalizes them to achieve integration. Wang Yangming highlights a model that raises internal ethical sensitivity as a foundation for examining external standards. Zhan Ruoshui synthesizes the two approaches, maintaining inner tranquility while allowing the harmonious nature of integration between internal and external aspects to emerge naturally. inward-oriented Embodied Realization, Wang Yangming's as outward-oriented Embodied Realization, and Zhan Ruoshui's as a synthesis of the two, pursuing an inward-outward unity (Neiwai Heyi, 內外合一) in Embodied Realization. When compared to contemporary theories of embodied cognition, Zhu Xi and Zhan Ruoshui’s Embodied Realization theories align with the hypothesis of embodied cognition, while Wang Yangming’s Embodied Realization theory resonates with the hypothesis of enacted cognition. Their theories of Embodied Realization correspond to one of the methodological processes of moral embodiment proposed by Neo-Confucianism and offer valuable insights into the rapidly growing field of contemporary moral psychology.

다문화사회에서 이주여성의 몸 경험 : 유목적 체현을 위한 목회상담 연구

송민애 연세대학교 신과대학 2008 신학논단 Vol.54 No.-

This study purports not only to offer practice to pastoral counselors dealing with the transnational married migrant women but also to receive the wisdom through their nomadic embodiment experience. Their nomadic embodiment experience could show the way how the multicultural society has to reach to the Kingdom of God. In the era of "feminization in migration", women's circumstance is conditioned socially, culturally as well as personally. So this study focuses on the woman as the subject who is ignored by the dominant structure of society but rejects to describe the woman as only the subordinate character, It puts emphasis on the priority in order to overcome and resist to the oppressive structure of patriarchy and. racism. Hence the post-colonialism has to be reconsidered in the perspectives of the feminist theologies. The interracial or international married ones have been suffered from the prejudice of races, genders, and classes. These accumulated oppressive phenomena can be reminded of our past memories such as the Japan's military 'comfort women' or more recently "GI brides". These have been affected as the spiral violence such as the pre-victimized could become the post-oppressor. It is the hidden agenda of the 'dangerous memory' among the community members. Therefore, the researcher as the feminist theologian who has experienced the 'outsider within' position is challenged to expose this spiral and hidden violence of this society through the embodied experiences of the migrant women. Also feminist theologians have to help them retaking and keeping their own liberation. The migrant women's embodied experiences are considered spiritually as well as personally and politically in the unrighteous context. As for the research design and methods, the phenomenological case study approach which is employed for the analysis of real experiences and for the theological reflections, respectively. To implement the qualitative research, 12 participants were selected to offer the in-depth interviews and their authentic experiences were analysed as the basic resources for theological reflections. Not only the critical dialogues among the interdisciplinary perspectives in the migrant women's experiences but also the patriarchal theological analysis were reconsidered. Through theological reflections, this study reaches conclusion as follows; First, it has to be criticized that the married migrant women are categorized as a homogeneous group irrespective of differences among women from the dominant group and the systematic arrangement of power in society along the axes of race/ethnicity, gender and class, It needs to dismantle the structure and empower them who continue to struggle so that they may survive and explore their latent capacities. Their marginalized context makes them confusing their identities, but they are not the victimized in the globalized liberal capitalism. They are the subject of the self-determination and responsibility even though their circumstances are very poor. They are eager to help their family members economically and try to find out good opportunity for themselves. They are brave enough to cross the borders. Second, they are involved as "the pseudo members" in the Korean society. They realize that their caste, religious, ethnic, economic, and political differences have created division and caused to be controlled. At first stage of immigration, they tried to do hard to enter into the community but they can not be welcome as the members, In order to survive, they use their strategies to make a mockery of this prejudiced society, It results in deconstruction of the systematic unjustice. Their embodiment experiences were exposed as the hybridity and discrimination. Their identity were oppressed to the assimilation by the dominant host society. This assimilation is the result of the ethnocentric attitude and their hybridity will open the possibility. Third, the meaning of the migrant women's embodiment experience shows that they are posed in slippery "in-between" position such as decontextualized, Post colonial diasporic embodiment. But these factors give them the new identities strategy for the resistance against oppression. Fourth, the result of this study is the epistemological norm is the solidarity. Of course, the women's experience of oppression is the central focus and evaluative norm of feminist theology at the first stage, because their marginalized position cannot be hardly any relationship with the center. So the feminist theologian has to interpret their languages or evaluate their experiences in order to be heard. This process will help not only the migrant women but also the dominant privileged community. To do this the theological reflection and the praxis in the pastoral counselling extract from the Jesus Christ's embodiment as the liberation and salvation "from the bottom not from the upper", If the migrant women's nomadic embodiment experience could be empowered by the feminist theologian and pastoral counsellors, the intersubjectivity and interpathy between theses two parties will be the praxis of the "Kang Kang Sullae" pastoral counselling based on the nomadic embodiment feminist theology.

음악의 체화 과정 탐구

조준희 한국무용과학회 2025 한국무용과학회지 Vol.42 No.1

음악 전공자와 무용 전공자의 음악 체화 과정을 세 가지 관점으로 구분하여 문헌적, 사례적으로 탐구한 이 연구의 결과는 다음과 같다. 첫째, 신체 움직임 형성을 본질적으로 이끄는 음악의 유도적 체화를 통해, 소리 및 동작의 질감과 연결성을 조율한다. 둘째, 음악적 리듬이 시각적으로 변환되는 음악의 전시적 체화를 통해, 소리 및 동작의 명료성과 예술적 메세지를 전달한다. 셋째, 음악의 조건에 따라 실시간으로 움직임을 조정하는 음악의 즉흥적 체화를 통해, 섬세한 표현의 다양성을 확장한다. 넷째, 유도적 관점과 전시적 관점, 즉흥적 관점은 음악의 체화 과정에서 긴밀히 작용하여 예술적 메커니즘의 본질을 드러낸다. 음악과 무용의 체화 과정을 탐구함으로써 음악의 예술적 표현과 신체 움직임 간의 상호작용을 본질적으로 이해하는 데 기여하고자 한다. The results of this study, which explored the process of music embodiment in music and dance practitioners through three perspectives—inductive, performative, and improvisational—are as follows: First, the inductive embodiment of music demonstrates how music inherently guides the formation of bodily movements, coordinating the texture and continuity of sound and motion. Second, the performative embodiment of music highlights the visual transformation of musical rhythm, enhancing the clarity of sound, movements, and the delivery of artistic messages. Third, the improvisational embodiment of music reveals the capacity for real-time adjustment of movements according to musical conditions, thereby expanding the scope of nuanced expressive possibilities. Fourth, the inductive, performative, and improvisational perspectives operate interdependently within the process of music embodiment, revealing the core mechanisms of artistic expression. This study contributes to a deeper understanding of the interaction between musical expression and bodily movements by investigating the processes underlying music and dance embodiment.

VR 영화 관객의 가상 체험 디자인 연구 -체화된 인지이론을 중심으로-

위안전닝(Yuan Zhenning),박성호(Park Seong-ho) 한국만화애니메이션학회 2021 만화애니메이션연구 Vol.- No.64

VR 영화는 파노라마 인터렉션(Panoramic Interactive) 장면과 인터렉션 관람방식의 구축을 통해 관객에게 가상 현실에 몰입(Immersion)하게 만들어 전통 영화와 완전히 다른 체험을 제공한다. 또한 VR 영화의 서사는 전통 영화와 달리 저자, 스토리, 관객이 공동으로 완성하는 큰 변화가 발생하였다. 따라서 기타 예술 유형에 비래 VR 영화의 수용자는 더욱 복잡하고 중요한 서사 신분(Narrative Identity)을 지니게 되었으며, 관객의 관람 체험은 VR 서사의 완전성에 직접적인 영향을 끼치게 되었다. 일반적으로 VR 작품의 관객 관람 체험에 대한 가장 기본적인 평가 기준은 관객의 몰입 여부이며, 가장 큰 VR 몰입감은 바로 관객이 체화된(Embodiment) 느낌을 받는 것이다. 따라서 본 연구는 VR 관객의 체화된 인지(Embodied Cognition)를 바탕으로 대표적인 VR 영상의 캐릭터 설정, 표현과 인터렉션에 대한 분석을 통해 VR 관객의 체화된 신분 구축과 표현을 고찰한다. 그리고 이를 통해 관객과 콘텐츠가 더욱 적절하게 교류하고, 관객의 체화된 관람 체험을 강화하여 양호한 VR 영화의 창작과 실천을 이끌고자 한다. 우선 제2장 첫 소절에서 VR 관객의 특징을 분석한다. 캐서린 헤일즈(Katherine Hayles)의 포스트 휴먼(Posthuman) VR 환경에 따른 관객의 특징을 설명하였다. 즉, 관객이 가상 환경에 존재하여 영향을 받는 것이 아니라 수용자의 심리, 감정, 인지가 변화되어 체화된 인지를 생성하는 것이다. 다음은 VR 관객의 체화된 인지 특징을 분석한다. 체화된 인지 이론에 따르면 관객의 VR 체험은 물리적 세계에 근접하거나 동등한 “진실”을 경험할 수 있기 때문에 감각, 지각, 정서, 기억, 자아 인지 등의 심리를 구축할 수 있으며, 또한 이러한 체화된 체험(Embodied Experience)의 추구는 VR 영화 창작의 새로운 방법이 되었다. 그 다음으로 VR 영화 관객의 가상 체험 디자인 부족을 다음과 같이 구체적으로 분석한다. 첫째, 관객 신분의 설정이 흐릿하다. 많은 VR 영화 관객은 이동하거나 고정된 또는 어떤 때 있고, 어떤 때는 없는 카메라와 같이 인칭 시점에 혼란이 존재하며, 이는 일정 정도에서 서사의 논리를 파괴한다. 둘째, VR 관객의 이미지 표현 측면에서 일부 제1인칭 관객 시점의 경우 관객은 자신의 몸을 볼 수 있지만 VR 환경에서 자유롭게 걸을 수 없기 때문에 “자신의 몸”을 볼 수 있는 디자인은 시각 측면의 순간적 체화 느낌만을 제공하고, 시간의 진실성과 연속성이 부족하여 몰입감을 떨어뜨린다. 셋째, 관객의 상호작용설정이 지나치게 도전성이 높을 경우 좌절감을 느낄 수 있고, 반대로 도전성이 지나치게 낮을 경우 흥미를 떨어뜨리는 문제를 초래하여 인터렉션과 몰입의 균형을 깨뜨릴 수 있다. 제3장은 기존 VR 영화의 체화된 가상 캐릭터 구축 분석을 통해 세 가지 어려운 점을 어떻게 보완하는지 설명한다. 우선 관객이 VR 영상의 새로운 캐릭터가 “무엇인가”, “누구인가”, “자의식이 어디 있는가”를 명확히 알게 해야하며, 이를 통해 관객은 VR에서 서사 논리의 어색함이 발생하지 않고 빠르게 가상 공간에 몰입할 수 있다. 다음으로 VR의 아바타(Avatar)와 관객 시점을 일치시키기 위해 “거울”과 “응시”를 통해 수용자는 제1인칭 시각으로 “자신”을 볼 수 있으며, 이는 관객의 자의식 형성을 가속할 수 있다. 마지막으로 적절한 제시와 효과적인 상호작용을 통해 관객은 가상 현실의 현장감을 플롯과 관객의 사고에 이식하게 되며, VR 환경에 대한 복합적인 감지를 통해 새로운 의식과 자아를 구축하고, 체화된 인지를 실현할 수 있다. 미래 VR 서사는 시각과 아바타의 일치, 환경과 서사의 균형을 추구해야 하며, 몰입감과 현장감을 초월한 심미 체험으로 발생하는 체화된 인지는 VR 영화의 미래 발전을 위한 필연적 방향이다. 또한 관객의 체화된 가상 체험에 입각한 VR 영화의 장면 서사는 VR 영화 창작의 새로운 방법이다. VR (Virtual Reality) film creates a virtual space of multi-dimension. The creation of panoramic interactive scenes and interactive ways to view can not only provide the audience realistic artistic experience physically and mentally, but also give them an aesthetic space completely different from traditional films. The narrative style of VR films has changed substantially compared with traditional films. In VR films, the narration is done from the aspects of author, story and audience. Compared with any type of art, the audience of VR film plays a more complicated, clear and significant narrative identity, as their viewing experience will have a direct influence on the integrity of VR narration. In VR works, the most basic measurement for the viewing experience of the audience is to enable them immerse with rapt attention, while the highest level of VR immersion is to make the audience feel embodied. Therefore, this study is designed to create the embodied cognition of VR audience. Through the analysis of the setting, presentation and interaction of the characters in classical VR films, the construction and presentation of the embodied identity of VR audience is analyzed in this paper, so as to allow them to better interact with the content, strengthen their embodied viewing experience, and better guide the creation and practice of VR films. The characteristics of VR audience are analyzed in Section 1 of Chapter II herein. The thoughts of “Posthuman” proposed by Heller have reflected the characteristics of human beings in VR environments, namely, the influence of the virtual environment on the audience is not only reflected by the moment when they step out of the virtual environment. As a result of the role of information and material, the psychology, emotion and cognition of the audience will make a difference, stepping into the stage of “Posthuman”. However, during this period, embodied cognition plays a critical role. In Section 2, the characteristics of VR audiences’ embodied cognition are analyzed. According to the theory of embodiment, physical experience of users in VR can shape a kind of “real” experience, which is close to or equivalent to the physical world, and then form psychological meanings of sense, consciousness, emotion, memory and self-cognition. The pursuit of embodied experience is a new approach to the creation of VR film. In Section 3, The deficiency of audience virtual experience design is analyzed .1. The audience identity is not set clear. They often face a moving or stationary and intermittent camera. Confused personal perspectives, and contradictory and unclear audience identity also disrupt the narrative logic to some extent. 2. Image presentation of VR audience. Some audience can see their own bodies from the first perspective, but they cannot walk freely in VR environment. Such design can only provide instantaneous embodiment of visual level, rather than the authenticity and consistency of time, destroying the sense of immersion. 3. Audience interaction performance level. The setting of audience interaction points will cause frustration as a result of higher challenges, or decrease the interests because of lower challenges, destroying the balance between interaction and immersion. In Chapter III, an in-depth analysis of the construction methods of audience identity in classic VR films is made, thus providing us with methods to avoid the above three problems. First, it is necessary to make audience to know their new identity in VR films. Only by doing so can the audience be immersed in the virtual space as soon as possible without any confusion of narrative logic in VR environment. Second, in order to make the Avatar in VR consistent with the point view of the audience, “mirror image” and “gazing” can be adopted to allow the audience to see “themselves” from the first person perspective, thus speeding up the formation of their self-consciousness. Last, effective interaction is required for

역대 서론의 형상화 경향 연구

김희정 ( Hee Jeong Kim ) 한국동양예술학회 2016 동양예술 Vol.31 No.-

The purpose of this study is to sample a series of ancient literature that embody the shapes of objects to express the caligraphy and discuss the ideal of caligraphy, and therewith, classify their embodiments into nature, human body and personality to analyze their historical tendencies. The results of this study can be summarized as follows; First, this study analyzed the embodiments comparing the caligraphy with the nature by categorizing them into brush paintings and calligraphic styles. The works that embodied the caligraphy by comparing it with the natural objects started mostly during Han and Wei dynasties followed by Jin dynasty to prosper during the early Tang dynasty and then, disappeared rapidly since the mid-Tang dynasty. Such a transition is perceived to be attributable to the trend that the letters began to be abstract, departing from their images and in this process the letters struggled to keep their own life (sense of vitality). Thus, the letters began to be set in as Kai Shu during the early Tang dynasty with their images lost completely, and therefore, the meditation ’imitating the nature’ would disappear, while the independent human lyricism would be settled down as subjects of caligraphy. Secondly, the subjects of caligraphy or the human beings were embodied. Such embodiment has continued since when the calligraphic discourses started. Such a trend is due to the nature of the calligraphic creativity: embodiment of subjects whether it is ‘imitation of the nature’ or ‘expression of inner sentiment and will.’ Thirdly, the caligraphy was embodied into personality and ethics. Such a trend showed up during the mid-Tang dynasty when ‘the imaging technique’ that had sustained until the early Tang began to be replaced by lyricism. Since Sung dynasty, the embodiment began to be related with personality. During Ming dynasty, the embodiment was related with the sense of morality, and during Ching dynasty, some calligraphic works began to be related with personality, ethics and morality, being compared with their symbolic objects. Summing up, for the period from Han, Wei and Jin dynasties when the meditation (cognition) began to be the theme of the calligraphic discourse to the early Tang dynasty, the caligraphy was thought as ‘imitation of the nature (The great Nature and human body).’ Since the mid-Tang dynasty, it was transformed into the expressions of lyricism (sentiment). Then, the caligraphy would be perceived as means of imagize its subject’s inner personality, and during Ming dynasty, it would be recognized as means of cultivating personality and morality. By the end of Ching dynasty, the caligraphy would be perceived as symbol of personality and morality. Such a transition of the caligraphy seems to be in the same context as the development of theory of aesthetics, theory of pursuit of aesthetics and theory of arts in the history of aesthetics.

Visual representation of the upper-body avatar affects embodiment in VR

DoHyung Kim,KyoungJu Park 한국HCI학회 2023 한국HCI학회 학술대회 Vol.2023 No.2

Embodiment enhances immersion in a virtual experience. While various factors affect self-embodiment, we focus on an upper-body representation of the self-avatar and investigate the effects of the representation details on the embodiment. We use three different levels of the upper-body avatar model from the abstract, iconic, and realistic models. These three models imitate the corresponding user’s pose during VR experiences. We conduct a user study and evaluate the effects of the representation of an avatar on the embodiment.

체현과 도덕적 정서교육

고미숙 ( Mi Suk Ko ) 한국윤리교육학회 2010 윤리교육연구 Vol.0 No.21

In this study, I studied the relationship between emotion and embodiment and the direction of moral emotion education based on embodied moral emotion. Emotion theory is divided into cognitive theory and non-cognitive theory. Embodied perspective of emotion accepts both in part. It emphasizes the role of body in emotion and intentionality of emotion. We reveal our emotional experience through our body. Emotion is body`s experience. Moral emotion is emotion that arouses in relationship with moral aspect. Moral emotion is embodied. Embodied theory sees moral emotion as often precede cognition. I suggested reorientation of our value, perceiving self and other as embodied emotional subject, having moral emotion habit through practice, embodied moral imagination and reappraisal to do embodied moral emotion education

신체화에 기반한 ‘달리다’류의 의미 확장 연구

임태성(Lim, Tae-sung) 담화·인지언어학회 2015 담화와 인지 Vol.22 No.2

The purpose of this study is to investigate the meaning extension of the category of the Korean verb dallida. This paper investigates chidallida and naedallida of the category of dallida by corpus analysis. The meaning extension is based on embodiment, through which we can understand our language with the help of our experience. Embodiment can be subclassified into ‘embodied experience’, ‘embodied concept’, ‘embodied meaning’ and ‘embodied mind’. Herein lies the importance of embodiment, which facilitates the conceptualization of meaning. This paper investigates naedallida and chidallida of the category of dallida. Naedallida and chidallida are analyzed into semantic components on a sentence level. First, naedallida connotes six semantic components such as Starting point, Location, Speed, Relative position, Attitude and Ending point in physical motion. Naedallida expresses both fictive motion and situated motion in terms of psychological motion. Second, chidallida entails two semantic components such as Orientation and Ending point in terms of physical motion. Chidallida expresses both fictive motion and situated motion in psychological motion. The difference between dallida, naedallida and chidallida is as follows. First, the semantic components of dallida are motion and manner. The connotation of dallida is combined with various semantic components. Second, the semantic components of naedallida are motion, manner and additional manner. Dallida and naedallida are combined with similar components. Third, the semantic components of chidallida are motion, manner and orientation. Chidallida does not need the component of orientation in a sentence.

탈신체적 로고스에서 신체적 에토스로 : 몸의 수사학

김종갑 한국수사학회 2012 수사학 Vol.0 No.16

Rhetoric is the art of finding diverse modes of persuasion: it employs not only logos, but ethos and pathos as well. In order to achieve such a goal of persuasion, the speaker makes the most of his or her personal character and appearance, that is ethos. The fact is logos does not speak itself, but should be spoken by the speaker with some specific character. Since logos is embodied as such, the question of who does speak is as important as the message itself. Aristotle said, "we believe good men more fully and more readily than others." In order to win the case the speaker does everything in his or her own power to appear good, even hiding his or her evil intention. And it happens that audience is beguiled by such false appearance. This danger of ethos has been at the core of philosophical speculations, along with the question of how to shun off or regulate the possible misuse of embodiment. Platonic logocentrism disapproved ethic embodiment of any kind. But Aristotle proposed to regulate ethic embodiment by the representative rule of correspondence or propriety, later named "decorum." Decorum is the norm regulating the fitness between logos and ethos, or between characters, actions, and style of narration. But the breakdown of this convention of decorum with the rise of enlightenment or modernity turned the trend toward disembodied logos. This paper has two aims, one being to trace the problematic history of ethic embodiment in rhetoric by focusing on Plato, Aristotle, and Kant, and the other, to answer the question why ethos becomes the center of persuasion in this age of postmodernism.

인터페이스의 매체성 : 뉴미디어 퍼포먼스에서의 체현미학 연구

김진현 이화여자대학교 이화인문과학원 2009 탈경계 인문학 Vol.2 No.2

Tracing recent tendencies of New Media Performance incorporating the human or the artificial body to interactively generate and modify a computer-generated artistic world, this article deals with the mediality of interfaces in New Media Performance that seems to be constitutive for a user's aesthetic experience which she or he attains while actively participating in the process of shaping and completing a "work of art". Beginning with an introduction to the concept of interface in terms of machine interface as used in human-computer interaction, I contend that different principles are required in interface design for traditional musical practices and for New Media Performance, respectively. The latter is based on arbitrary mapping of input parameters onto output parameters for algorithmic modeling of artistic events. In this case, user's shaping of the perceptually guided artistic activities and entering into artistic interaction with aesthetic experience relies upon the interface design mediating bodily based action and perception when she or he explores the interface for artistic purpose. Hence, the skills of interpreting bodily information and translating it into parameters for sound/image synthesis or manipulation become significant in interface design for New Media Performance. Observing several strategies of mediating bodily-based experience, such as extending the physical limit of human bodies or constructing bodily-based multiple identities and materialities in artistic interaction, I discuss the alternative concept of embodiment: "Embodiment" is understood as the bodily base of aisthesis, cognition and meaning, which does not bear on the Cartesian mind-body dualism, but gives an emphasis on the moment of presentation that embodiment only brings forth, rather than the logic of representation. Embodiment, therefore, should not be considered being eliminated by means of the informatized process of digital art. The new perspective on "embodiment" allows us to scrutinize the sensual aesthetic experience in New Media Performance.