http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
무용영재를 위한 교수학습에서의 테크놀로지 활용 가능성 모색
한석진 ( Han Seok Jin ),김주희 ( Kim Joohee ) 한국무용예술학회 2017 무용예술학연구 Vol.66 No.4
This research aimed to seek ways of educating dance for the gifted with the use of technologies in order to complement the current trend of emphasizing technical virtuosity. We conducted literature reviews on the status and issues of gifted education in dance as well as in-depth interviews with dance teachers and artists, who have had gifted education experiences. With the illustrations of dance education cases that used technologies, we suggested the three directions to promote the education of dance for the gifted: the use of dance software program for understanding movements and choreographies; the application of e-learning systems for foster dance literacy; and the setup of online platform for archiving teaching and learning materials.
디지털 퍼포먼스 < 모탈 엔진(Mortal Engine) >(2008)에서의 포스트휴먼 몸에 대한 연구: 포스트 메를로-퐁티 철학 관점에 근거하여
한석진 ( Seok Jin Han ) 대한무용학회 2017 대한무용학회논문집 Vol.75 No.3
Drawing upon post-/Merleau-Ponty theories, this research argues that the virtual cannot be relegated to disembodiment. By investigating a real time interface between dancers and digital images in Chunky Move`s Mortal Engine (2008), the research insists that virtuality is the re-embodiment of physicality. A dancer`s embodied agency is expanded to a space of virtuality and brings into being her virtual double, whose em-bodiment is realised only with technical deterritorialisation of the body. Also, the dancer`s doubled body image affect each other as operated by her technological deployed body schema. Their doubled, presences are the embodiment of the posthuman`s unified subjectivity.
VR/AR 테크놀로지를 활용한 이머시브 퍼포먼스의 상호매체성 미학
한석진 ( Seok Jin Han ) 대한무용학회 2022 대한무용학회논문집 Vol.80 No.4
This article analyzed Whose Salon’s A funeral day of Haenghwatang and Seo Hyun-Suk’s X(Indifferent Spectacle), two immersive works using VR and AR technologies respectively. In doing so, it explored how audiences have an immersive experience in-between the actual and virtual image, the real and fictional world and elaborated their aesthetic implication. As a result, the author insisted that these two performances reject the Platonian opposition between the real and the virtual and take the Flusserian perspective on digital virtuality, taking intermedial relationships between performers and audiences, original and designed spaces, the past and the present, and physical events and virtual images.
한석진 ( Seok Jin Han ) 대한무용학회 2021 대한무용학회논문집 Vol.79 No.3
This paper examines two dance works Living Archive: An AI Performance Experiment (2019) and Centaur (2020), choreographed by Wayne McGregor and Pontus Lidberg respectively, where Atificial Intelligence (AI) takes part in producing creative movements. It argues that the Google AI of Living Archive analyses McGregor’s dance archive data and generates choreography by recombining movement sequences in McGregor’s choreographic style. By contrast, throughout a performance of Centaur, an AI system called David spontaneously modifies its own choreographic rules and offers new movement structures and elements to dancers in real time. Although how the AI systems operate in the two works are different, the choreographers and their collaborators equally answer AI’s ability to produce creativity in the affirmative. This paper questions whether the human’s cognitive ability is a prerequisite for making an artwork and suggests that creativity in art has to be reconceptualized while going beyond an anthropocentric understanding of what can be an artwork.
한석진 ( Seok Jin Han ) 대한무용학회 2023 대한무용학회논문집 Vol.81 No.4
This article critically reconsiders the curriculum and structure of dance programs in higher education institutions in South Korea. It contends that these programs have been restructured according to the market- centred funding policy from the state. To do so, it sheds light on the precarious conditions that dance artists have been facing under neoliberal ideologies and positions precariousness as the ground for resisting the neoliberal system. To cultivate dance artist as political subject who has the potentiality to dismantle neoliberal power, interdisciplinarity, engagement with theory, verbal articulation need to be emphasized in dance programs at universities.
한석진 ( Han Seok Jin ) 한국무용예술학회 2021 무용예술학연구 Vol.81 No.1
This article explores the mode of robots in three digital performance works, Huang Yi’s Huang Yi and KUKA(2013), Hirata Oriza’s I, Worker(2008), Yulhyul Arts Group’s Unstable Ver.4 - Defeat the Robot(2014) and analyses the ontological implications of the robots in relation to the humans. These three works take different modes of presence of robots: the first two works operate a way of making present, making fictions present to an audience, meanwhile the third work emphasises presence between their literally ‘being-there’ and absence. However, these works share anti-anthropocentrism on the superiority of the human over the robot, refuse the opposite relations between them, propose the robot’s potential as an entity having emotion and cognition, and reframe the concept of human beings.
십자형 급전선을 갖는 광대역 마이크로스트립 슬롯 안테나의 특성 분석
장용웅,한석진,신호섭,김명기,박익모,신철제,Jang, Yong-Ung,Han, Seok-Jin,Sin, Ho-Seop,Kim, Myeong-Gi,Park, Ik-Mo,Sin, Cheol-Je 대한전자공학회 2000 電子工學會論文誌-TC (Telecommunications) Vol.37 No.3
본 논문에서는 십자모양의 마이크로스트립 급전선을 사용하여 슬롯 폭이 넓은 경우 기존의 급전선 구조보다 쉽게 정합을 이룰 수 있는 방법을 제시하였다. 마이크로스트립 안테나의 단점인 좁은 대역폭을 확장시켰으며, FDTD법을 이용하여 십자형 급전구조를 갖는 광대역 마이크로스트립 슬롯 안테나의 특성을 해석하고, 최대 대역폭을 갖는 안테나를 제작 및 실험하였다. FDTD법으로 모델링하여 전계분포를 시간영역에서 계산하였고, 이를 Fourier변환시켜 슬롯 안테나의 반사손실, 전압 정재파비, 입력 임피던스, 복사패턴을 주파수 영역에서 계산하였다. 슬롯의 폭(Ws), 수평 급전선의 길이(l/sub d/)와 수직 급전선의 길이(l/sub u/), 그리고 offset에 따라 대역폭이 변화하였다. 이러한 결과로부터 최적화할 때, 전압 정재파비가 2이하인 대역폭은 1.975 GHz에서 4.725 GHz로 약 1.3 옥타브의 광대역 특성을 얻었다. A cross-shaped microstripline-fed printed slot antenna having wide bandwidth Is presented in this paper. The proposed antenna is analyzed by using the Finite-Difference Time-Domain (FDTD) method. It was found that the bandwidth of the antenna depends highly on the length of the horizontal and vertical feedline as well as the offset position of the feedline. The maximum bandwidth of this antenna is from 1.975 GHz to 4.725 GHz, which is approximately 1.3 octave, for the VSWR $\leq$ 2. Experimental data for the return loss and the radiation pattern of the antenna are also presented. and they are in good agreement with the FDTD results.e FDTD results.