웨이블릿 변환을 이용한 시뮬레이션 모델 검증 방법

신상미,김연진,이홍철,Shin, Sang-Mi,Kim, Youn-Jin,Lee, Hong-Chul 한국시뮬레이션학회 2010 한국시뮬레이션학회 논문지 Vol.19 No.2

The validation of a simulation model is a key to demonstrate that the simulation model is reliable. However, among various validation methods have been introduced, it is very poor to research the specific techniques for the time series data. Therefore, this paper suggests the methodology to verify the simulation using the time series data by Wavelet Transform, Power Spectrum and Coherence. This method performs 2 steps as followed. Firstly, we get spectrum using the Wavelet transform available for non-periodic signal separation. Secondly, we compare 2 patterns of output data from simulation model and actual system by Coherence Analysis. As a result of comparing it with other validation techniques, the suggested way can judge simulation model accuracy more clearly. By this way, we can make it possible to perform the simulation validation test under various situations using detailed sectional validation method, which has been impossible using a single statistics for the whole model.

봉산탈춤 미얄과장에 등장하는 인물들의 신체표현과 공간관계

신상미 ( Sang Mi Shin ) 무용역사기록학회 2003 무용역사기록학 Vol.5 No.-

The purpose of this study was to analyze the movement of the Pongsan mask dance drama, a representative folk dance of Korea, through LMA. I hoped to find an answer to why the audience specifically enjoyed this dance. This question was approached with the assumption that the Pongsan mask dance drama conveys body expression of the basic life formed inside Korean culture. Result of the study is as follows: When the three people move in the seventh scene of the Pongsan mask dance drama, there is a unique individual distinction. The characteristics of Miyal`s dance most identifiable to Miyal are the Bound/Quick/Strong hip movement and Scattering and Gathering arms to front and back with fanned hand Flicking movement. These seem to show Miyal`s character as passionate and active. Younggam distinguishes himself through the Quick/Bound shoulders and chest twist movements, and the Free/Sustain arm movement in Mobile State. These movements seem to show his active and indulgent character. The Concubine`s movement of distinction is her winding body pulsating with arms wide open to the side movements and the Free/Quick vibrating twist of her upper body. These movements seem to express a showing off and impudent self. The Kinesphere of Younggam and Miyal`s relationship is in Sagittal Dimension except when they sit side by side Horizontally as to talk. Even though this Sagittal Dimension expresses their obstacles, the kinesphere happens in their fighting, and the pushing and pulling each other in a Near-Reach Sagittal Dimension show their conflict and hatred, the kinesphere between Younggam and Miyal seems much more intimate. The Relationship Kinesphere between Younggam and the Concubine is quite different from the relationship between Miyal and Younggam. Right after the Concubine enters, Younggam finds her. He immediately walks to the Concubine. Then, he walks in a circle with her side by side on a Horizontal Plane with his right arm tenderly wrapped around her shoulders. This Near-Reach Kinesphere of the Concubine and Younggam seems to not only show synchronized rhythm but also an affectionate relationship in which he takes care of her. Even in the scene of Younggam lamenting over Miyal`s death, the Concubine behaves coquettishly in a Horizontal line of the Kinesphere rather than in Sagittal Dimensions with the Younggam, even though there is eye contact between the two. When they leave Miyal, they walk side by side, but they always stand far from each other. The Concubine does not go to Younggam until he comes. In a relationship of this Kinesphere, it seems to show that she does not have a proper relationship with Younggam. Moreover, an important aspect of the Kinesphere of the characters is their interaction with the audience. The delivery of their message to the audience through their upper body and the forward arm and forward-side diagonal movements is a supreme example of the narrative structure in nonverbal communication. The emphasis of Sagittal and Vertical Dimension with Direct/Bound hand gestures, and the chest lowering and the nodding of the head are all narrative movements that deliver the current situation effortlessly to the audience. Through this narrative structure, the interaction allows for an uninterrupted delivery of the storyline from the performer to the audience. The effort and shape of the body movements of the three characters and the relationship between the characters clearly show the personality of each character in the seventh scene. It provides an illustration of their troubled situation in life. It enables the viewer to understand what is being expressed with ease. Hence, I believe it easily grabs the attention and interest of students. In conclusion, the body expressions of the Pongsan mask dance drama are naturally acquired through everyday Korean life and culture and are therefore easily understood and appreciated by Koreans. These body expressions identify Korean dance and are valuable cultural inheritance worthy of preservation.

무용과 컴퓨터의 만남: LabanWriter와 Life Forms 소프트웨어를 중심으로

신상미 ( Sang Mi Shin ),김미애 ( Mi Ai Kim ) 무용역사기록학회 2004 무용역사기록학 Vol.6 No.-

Art and science, even though they have started from the same etymology, during their developmental process each of them have evolved into different concept. However, in present-day, the inter dependency of these two fields are growing and more on going researches bases. In the field of dance, general consensus was against science and they altogether excluded it form being adapted and applied. Naturally such exclusion caused delay in adapting technology in dance. With the change in mood of society, people begin to have positive views on dance and science and further on dance and technology as well. This change of the view have brought out the need for researches on whole new field called `dance and technology`. Presently, there are on going researches on diverse fields regarding dance and technology. The typical fields among there various researches are using technology on dance notation, technology and dance choreograph, technology and dance education, use of computer on stage lighting. In this paper, I have studied these various fields of researches and bring out the realities and the degree of practicality of technology in various fields in dance. Furthermore, the study focused on well-publicized two computer programs; LabanWriter and Life Forms to defined a relationship between dance and technology and suggest a direction for dance technology. In modern day, it will not be an over statement if state that we cannot imagine a life without technology. This single fact alone shows how much we are living a life under the influence of technology. It is already impossible to be not influenced by technology. Depending on how we handle the ever-growing technology realm in our society, it can be a great asset or obstacle in development of dance. Therefore, we need the wisdom to grasp the essence of technology and apply it to the field of dance, as it is needed.

바슬라브 니진스키의 몸짓유형과 그 의미 - <목신의 오후>와 <봄의 제전>을 중심으로 -

신상미 ( Sang Mi Shin ) 대한무용학회 2009 대한무용학회논문집 Vol.58 No.-

This study was to understand the characteristics and its meanings of Nijinsky's movements, [L'Apres-midi d'un Faune(Afternoon of the Faun)] and [le Sacred u printemps(The Rite of Spring)], and interpret and evaluate the meanings in pattern of his movements and the culture pattern in general. A framework for the analysis of his movements were composed of Horst, L. & Russel, C.'s theory of the modern dance forms, Francois Delsarte's theory of the body expression, and Rudolf Von Laban's analysis of movement. Based on the analysis, the characteristics and the meanings of Nijinsky's movements were as follows: In aspect of form, his dance showed Primitivism, an artistic form of the Archaic and Medievalism; In aspect of body expression, the dance expressed erotic and ecstasy movements which emphasizes physical parts of the body; In aspect of movement, the dance presented Even and Accent phrases, Impactive and Impulsive phrases; In aspect of dance composition, dance presented the repetitive movements in the straight line or the round form which were intense, exciting and dramatic. As presented above with several aspects, while observing reciprocal relationships, the peculiar patterns of Nijinsky's movement not only showed Dionysian sensuality and self-effacement through an intentional expression of ecstasy and catharsis in dance, but also expressed Apollonian mentality which produces a form of modern dance, the Primitivism, systematically and theoretically. Thus, Nijinsky attained ingenuous communication with his spectators of those days as r result of his attempts to develop peculiar choreography with new movements of Primitivism and intelligible stage management.

라반의 BESS(Body, Effort, Shape, Space) 움직임 이론과 상호 친화성 및 적용성 연구

신상미 ( Sang Mi Shin ) 무용역사기록학회 2005 무용역사기록학 Vol.8 No.-

The purpose of this study is to examine Laban`s BESS(Body, Effort, Shape, Space) Movement theory, its affinities, and its applications. The study resulted in the following: Body theory deals with how human movement is executed, whether or not the executed movement enhances physical function and is an effective expression. Effort theory explains the basic elements of movement expression, how the elements are combined and expressed, and which effort is most fit for each situation. Through this, Effort can be applied effectively and therefore enable free communication. Shape theory enables us to grasp the form of movement that appears in space and understand the meaning of the form. Space Theory helps determine whether or not there is movement going through four dimensional space through CTP(Central, Transversal, Peripheral) movement. In other words, through the sense of line infinitely stretching out into space, it aids our apprehension of a human`s inner attitude and the psychological aspect being expressed. Furthermore, BESS elements bear reciprocal relationships with each other and possess similar characteristics in space. Accordingly, by applying the various concepts and framework for analysis provided by BESS Movement Theory to actual movement execution, body alignment, improvement in expression, development of movement quality and creativity, and various cultural studies are possible. In conclusion, BESS Movement theory can help us improve physical function and expression so that human movement may be executed more effectively, and can be utilized as the ground material for training in natural communication. For these reasons, it is an important issue to have further interest in this field and conduct more systematic studies based on this theory.

1940년대 마사그라함의 무용

신상미 ( Sang Mi Shin ) 대한무용학회 1995 대한무용학회논문집 Vol.17 No.-

김천흥 창작무용극《처용랑》의 복원 및 재현을 위한 사료분석

신상미 ( Sang Mi Shin ) 무용역사기록학회 2012 무용역사기록학 Vol.24 No.-

The purpose of this study is to analyze historical data and to lay a foundation for restoration and reconstruction of the original creative dance drama Cheoyongrang created by Kim Chun Heung, one of the Korean human cultural assets. Historical data reviewed including books, programs, dance notations, scripts, posters, flyers, newspapers, magazines, videos, music, costumes, props, pictures, letters and oral statements made by Kim Chun Heung and his assistant Lee Hung Ku, also a Korean human cultural assets. The results of the analysis are as follows: First, Cheoyongrang satisfies all the factors of total theatre art assimilating art, dance, music, lyrics and dramatic story. Second, the story appropriately expresses the role of the characters and each part succeeds in theatrically embodying the Choyong fable. Third, the work has many different original dance routines and stage compositions highlighting each role. Fourth, it contains original music scores performed live during the performance with a live ensemble of 30 musicians. Fifth, realistic stage settings and lightings effectively illustrate the story of the dance drama. Sixth, based on the attire during the Shila era new stage costumes and props were created, using traditional props that adequately exhibit the role`s personality and stage scene. In conclusion, this study attempts to analyze Cheoyongrang, Kim Chun Heung`s first original dance drama and to provide historical data for future restoration and reconstruction efforts since his demise. Also Cheoyongrang is reflective of Chosun`s Ye-ak Thought, characteristics of total theatre art that include dance, music, lyrics and dramatic story. The work`s significance lies in that it embodies not only his dancing experience, but also the phenomenon that came about along with the boom of New Dance, coupled with the spirit of creative work materialized through his efforts for the popularization of traditional dance. Such efforts will provide a basis and information necessary for the creation of works based on traditional sources and also a foundation for future original dance productions in Korea.

황금비율을 적용한 안무구성법 연구 -라반의 공간조화이론을 중심으로

신상미 ( Sang Mi Shin ) 무용역사기록학회 2011 무용역사기록학 Vol.21 No.-

The Golden Ratio is a scientifically mysterious ratio that is supposedly pleasing to a human sense of aesthetics. This principle was applied and was proved by ancient Greek`s natural philosopher Euclid, mathematician Pythagoras and Fibonacci, philosopher, Platon and Leonardo Da Vincci who was not only a scientist but also an artist. Rudolf Laban developed theory of Scales based on a harmony, order and balance in space from the moving man`s body through utilizing principle of the Golden Ratio. This study tried to explain principles of the Golden Ratio and theories of the Choreutics/Space Harmony along with its interrelationships. Through these, the study proposed the possibilities of choreography within the Personal Space and the General Space, which was explained by Rudolf Laban, based on the Golden Ratio. For the result of the composition, the study presented a case of the floor patterns such as straight lines divided by the Goden Ratio and right-angled triangles, rectangles, spirals, pentagons which was composed by the Golden Ratio in the General Space. For the Personal Space, the study presented a choreography based on the unique movement characteristics, structure, quality and dynamics from the A Scale which was selected from the Laban`s Scales in icosahedron. Icosahedron is composed of Golden Ratio. Also, the study presented the possibilities of limitless space composition which is followed by choreographers` movement motives. In conclusion, this study is worthy and meaningful in respects of not only providing a creative discerning eye and fundamental foundation for choreography in the future but also setting a good precedent of the scientific and universal methodology of choreography which was based on the Golden Ratio of geometrical knowledge and Laban`s theories of the Choreutics/Space Harmony.

궁중 학무와 민속 학춤의 구조 비교 연구

신상미(Shin Sang Mi) 대한무용학회 1999 대한무용학회논문집 Vol.25 No.-

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무용인류학과 무용학의 이론과 방법에 관한 연구

신상미(Sang Mi Shin) 대한무용학회 2000 대한무용학회논문집 Vol.27 No.-

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