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.

한·중·일 근대무용가의 예술 활동에 나타난 근대성 - 최승희, 대애련, 사다 야코를 중심으로

신상미 ( Sang-mi Shin ),김현정 ( Hyun-jung Kim ) 대한무용학회 2018 대한무용학회논문집 Vol.76 No.5

This paper explored modernities in the activities of Choi Seunghui, Dai Aillien, and Sada Yacco. Drawing on cultural studies, constructionist approach, choreology and LMA, this research compared processes of becoming a dancer, the characteristics of their works, audiences’ responses, and modernities in their activities one another. Choi’s activities reflected colonialism, nationalism, new woman, Orientalism and Pan-Asianism while Dai’s works showed patriotism, socialism, sinocentrism, reinvention of ethnic and community dances, and the establishment of modern institutions and Yacco’s works involved hybridity of dance and theater, Art Nouveau Japonisme, and Orientalism. This study provides a case study of multiple modernities.

동북아시아의 춤문화 찾기 1 -한,중,일 창세신화 해석을 통한 춤의 원형과 문화 패턴 연구-

신상미 ( Sang Mi Shin ) 대한무용학회 2007 대한무용학회논문집 Vol.52 No.-

The purpose of this study was to suggest new directions to integrate dance cultures of the countries in North-East Asia through extracting archetype of dance and by comparing cultural patterns of dance that are presented in the creation myths of Korea, China, and Japan. The conformity of this process was confined to elements of the myths and distinction between dance movements. As presented in the study, archetypes and patterns of dance in the creation myth of Korea, China, and Japan have a common primitive ritual form, deriving Passion-Drive effect on dance movement. The commonality in the form presents elements of Dionysus which tend to appear through development of Frenzy or Ecstasy. Plus, it represents that some common, general, and universal elements have existed among Korea, China and Japan although each nation had different ideologies and contents in their myths. For example, Shaman, who could be God and a man at the same time and is known as someone who mediates between God and men, was found in all myths while these three different nations also had similar characteristics in their dance movements which are ritual and ecstatic. The characteristics that were to represent the uniqueness of each culture have eventually revealed common characteristics of all in North-East Asia. In this regard, it seems that the common culture of East-North Asia will not only be highly valued in practice as a source of creation of new form of culture and of impulsion into an act of Art, but also preserve and maintain their archetype and patterns of dance in spite of any possible transformation or regional boundaries. In conclusion, the characteristic like Dionysian artistic impulse, which is proposed in this study, is expected to be used as a basis for the creation of newly integrated dance patterns and as initial manure which will help promote globalization of the dance culture of East-North Asia. Therefore, this study will expectedly lead us to achieve cultural exchanges and development.

무용과 인공지능 융합예술 연구

신상미(Shin Sang Mi) 한국예술종합학교 한국예술연구소 2017 한국예술연구 Vol.- No.16

동북아시아의 춤문화 찾기 2: 한,중,일 탈춤놀이극의 텍스트 해석을 통한 춤문화 창조론

신상미 ( Sang Mi Shin ) 대한무용학회 2008 대한무용학회논문집 Vol.54 No.-

The purpose of this study was to suggest a paradigm to develop integrated cultural contents which lead new creation through discussion and interpretation in the text of the typical mask dance drama in North-East Asia. For this study, context of cultural history, form of play, dance structures and movement qualities in the mask dance drama of Korea, China and Japan were investigated. Transformed cultural elements that are presented in the mask dance drama were extracted. The result of this study is as follows: 1. The dance was transformed from godcentrism to anthropocentrism. 2. The dance was transformed from a dance symbolizing and abstracting the shamanism of sacrifice to a tutelary deity to an ecstatic dance naturally appearing in the life of men. 3. The dance was transformed from a dance of prayer for human life, death, fortune and misfortune to a satire on the thoughts and life of society of the times. 4. The dance was transformed from a dance expressing ritualistic sacredness to a dance expressing a comical sense of humor and amusement in relation to men`s laughter. 5. The dance was transformed from a dance expressing transcendence to a dance expressing men`s sexual instinct. 6. The dance was transformed from a natural dance created in the communities to an artificial dance in which people hid behind a mask in a period of discrimination in social class. 7. The dance was transformed from a jumping dance emphasizing Shape Flow into a field dance expressing various Effort of man, that is, an accent phrasing gesture of hands, head, shoulders, feet emphasizing breath and various forms of swing phrase dance pursuing movement of formal composition. 8. The dance was transformed from Passion Drive dionysian dance to harmoniously integrated apollonian dance with Spell, Action, Vision and Passion Drive. That is, it changed from the dionysian pattern of culture which has an ecstatic passion to the apollonian pattern of culture which has a mode of formality. As the result, mask dance drama in Korea, China and Japan natural and new meta-patterns were created by choosing various cultural elements and by integrating divergent context. Pertinent integration of transformed elements which was found in each culture will be a basis for the creation of dance and the development of integrated cultural contents in North-East Asia in the future. It will also concentrate the world`s attention on the peculiar cultural identity of North-East Asia.

한국춤 공간에 나타나는 음양오행적 표현특성

신상미(Sang Mi Shin) 대한무용학회 2000 대한무용학회논문집 Vol.28 No.-

궁중 학무와 민속 학춤의 구조 비교 연구

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

루돌프 폰 라반의 공간철학에 관한 연구 - 코레우틱스를 중심으로

신상미 ( Sang-mi Shin ) 대한무용학회 2019 대한무용학회논문집 Vol.77 No.2

This paper deals with the theory and practice of the language of movement, Choreutics, created from Rudolf von Laban 's philosophy of space. As a result of the study, the author found that Laban discovered a Dynamosphere in which the Effort as a shadow of movement exists in the trace form of a spatially harmonized movement. Through this, Laban was not only choreographed expressionist dance as a Tanztheatre, but also applied to practice of the Movement Choir as a community dance, and it was found that systematization of scientific and logical movement education was achieved.

온라인수색의 법률적 문제점과 허용가능성

신상미(Shin, Sang Mi) 경찰대학 경찰학연구편집위원회 2020 경찰학연구 Vol.20 No.3

정보통신기술의 발달로 사이버공간에서의 범죄가 증가하면서 수사기관은 효율적인 디지털 증거수집을 위해 새로운 수사기법을 개발하고 있다. 변화하는 범죄환경에 대응하기 위해 새롭게 논의되는 수사기법 중 하나는 수색대상자 컴퓨터에 기술적 방법으로 침입하여 범죄 증거를 수집하는 온라인수색이다. 우리나라의 경우 온라인수색을 허용할 수 있는 수권 근거가 없으며, 현행 형사소송법 등을 적용하기에 사전통지 및 영장제시, 참여권 보장, 스파이웨어 설치 등 문제점이 있는 것을 발견하였다. 하지만 온라인수색은 추적이 어려운 다크웹을 이용하는 범죄 및 테러범죄 등에 대응하기 위한 효율적인 수사기법임은 틀림없다. 따라서 온라인수색의 허용가능성을 논의하기 위해 온라인수색을 형사소송법에 도입하기까지 오랜 기간 논의 과정을 거쳤던 독일의 입법 과정 및 내용을 살펴보았다. 또한, 우리나라에서 온라인수색을 허용하기 위한 요건으로 대상 범죄의 엄격한 제한, 영장주의, 비례성 및 보충성의 원칙 적용, 사후통제방안 등을 제시하였다. 온라인수색은 기본권에 대한 가장 강력한 침해 수단이므로 추후 심도 있는 논의가 지속적으로 이루어져야 할 것으로 판단된다. As crime in cyberspace increases due to the development of information and communication technology, investigative agencies are developing new investigation techniques for efficient digital evidence collection. One of the new investigation techniques to deal with the changing crime environment is an Online Search that collects evidence of crime by invading the computer of the searched person in a technical way. In Korea, we found that there is no legal basis for the authority to allow Online Search, and there are problems such as prior notice and warrant presentation, guarantee of participation, and installation of spyware in order to apply the current criminal law. However, Online Search must be an effective investigation technique to counter crimes and terrorist crimes using the dark web, which are difficult to track. Therefore, in order to discuss the admissibility of Online Search, we reviewed the legislative process and contents of Germany, which had been discussed for a long time before introducing Online Search into the Criminal Procedure Law. In addition, in this paper, strict restrictions in extent of target crimes, warrants of principle, application of the principle of proportionality and complementarity, and post-control measures were presented as requirements for allowing Online Search in Korea. Online search is the most powerful means of infringement of basic rights, so further in-depth discussion is expected to continue.

논문 : 황금비율을 적용한 안무구성법 연구 -라반의 공간조화이론을 중심으로

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

황금비율은 우리의 눈으로 볼 수 있는 가장 아름다운 비율이다. 이는 고대 그리스의 자연철학자 유클리드와 수학자 피타고라스와 피보나치, 철학자 플라톤 그리고 르네상스 이후의 화가 레오나르도 다빈치 등 많은 학자, 지식인, 예술가들에 의해 입증되고 적용되어 왔던 원리이다. 라반은 이 황금비율의 원리를 이용해서 공간상에 인체가 그리는 조화와 질서 및 균형을 바탕으로 다양한 스케일을 발전시켰다. 이 연구에서는 안무구성을 하기 위한 기초이론으로 황금비율의 원리와 라반의 공간조화이론을 연구했고 서로 간의 상관관계를 설명하고자 했다. 그리고 이를 통해서 황금비율의 원리에 근거해 라반의 공간개념인 일반공간과 개인공간으로 나누어 안무구성 사례를 제시했다. 구성결과, 일반 공간에서는 황금비율로 나뉜 직선, 황금비율로 구성된 직각삼각형과 정오각형 그리고 황금직사각형 및 거기서 파생된 나선을 중심으로 무용수의 무대배치 안무구성 사례를 제시했다. 그리고 개인공간에서는 라반이 창안한 스케일 중에서 황금비율로 이루어진 정이십면체의 내부에서 만드는 다양한 스케일 중 A 스케일을 중심으로 독특한 움직임 특성, 즉 그 구조와 특질 등 움직임의 형태와 역동적 성질에 기초한 안무구성 사례를 제시했다. 본 연구에서 제시한 구성 결과는 보편적으로 아름답다고 느끼는 안무형태로 무용수를 무대공간에 배치 할 수 있는 가능성을 보여준 것이며, 황금비례가 적용된 미적인 움직임 구문을 창조할 수 있는 가능성을 보여준 것이다. 그리고 안무가에 따라, 춤의 주제에 따라 일반공간과 개인공간상에서 무한한 공간구성을 할 수 있는 가능성을 제안한 것이라고 할 수 있다. 이를 통해서 본 연구자는 일반공간과 개인공간이 조합이 된 안무구성 방법의 가능성을 발견할 수 있었고, 무대 디자인과 무용수와의 관계, 무용수의 소도구 사용법 등 황금비율에 근거한 이미지 창출을 위한 새로운 적용법의 가능성도 발견할 수 있었다. 이는 황금비율을 적용한 공간구성법의 무한한 창조 가능성을 시사한 것이라고 할 수 있다. 결론적으로 이 연구는 우리의 눈에 가장 아름답다고 보이는 황금비율의 기하학적 지식을 바탕으로 한 것이며, 라반의 공간조화이론에 기반 한 안무구성법을 연구한 것이다. 이 연구의 의의는 안무구성의 과학성과 보편성을 보여준 것으로 미래의 안무를 위한 새로운 안목과 기본 토대를 제공할 수 있다는 데에 있으며, 이론에 기반 한 실제(theory based practice)를 적용한 안무구성법의 선례가 될 것이라는 데에 있다. 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.