창작 발레 <심청>에 관한 연구 - 이저(W, Iser)의 독자반응비평이론을 중심으로 -

배금연 한양대학교 우리춤연구소 2020 우리춤과 과학기술 Vol.16 No.4

현대 예술사조의 특징 중 하나는 예술에서 수용자의 적극적 참여를 유도하고 옹호한다는 점이다. 이저의 독자반응비평 이론은 이러한 수용자 중심적 관점을 부각한 수용미학적 견해로 기존의 창작자 혹은 텍스트 중심적 수용미학 이론과 차별되는 전환적인 견해이다. 발레 <심청>은 한국창작 발레이면서도 세계적으로 소비되고 향유되고 있는 문화상품이다. 작품 속에 동서양의 문화가 공존하고 있어 수용자의 수용방식에 따라 해석과 의미부여가 다양하게 표현 가능한 작품이다. 이에 수용자 중심적 수용미학적 견해인 이저의 독자반응비평 이론에 발레 <심청>을 접목시켜 분석하는 작업은 의미 있다고 사료되어, 본 연구에서는 무용텍스트로서의 <심청>과 이저의 독자반응비평 이론을 함께 고찰해 보았다. 먼저 독자반응비평 이론에서 텍스트가 수용자의 수용행위를 통해 구체화 되어 작품이 되는 과정을 살펴보면 무용텍스트는 생산자인 대본가, 안무가, 연출가에 의해 창작되어 무대에서 무용수의 움직임을 통해 현장에서 전달되는 특징이 있다. 수용자는 안무가가 전달하려는 혹은 의미부여가 가능한 암시된 의도 등을 구체화시키는 능동적인 역할을 하는데 이것이 생산자-텍스트-수용자간 공동유희의 과정에 해당한다. 유희과정을 거친 텍스트는 작품이 된다. 수용미학적 구조에 관한 이저의 이론을 한국창작 발레 <심청>에 적용해보면 심청은 무용텍스트에 해당하고 창작자(안무가, 대본가, 연출가)는 생산자에, 무용수는 공연의 협력자이자 또 다른 수용자, 공연을 관람하는 관객과 평론가는 수용자에 해당한다. 이들은 상호간 자유로운 의사소통으로 텍스트를 구체화시키고 그 결과 <심청>은 작품이 된다. 한편 텍스트가 구체화된 작품은 다시 다음 생산자의 또 다른 텍스트창작에 영향을 주어 새로운 수용텍스트를 만드는 순환적 의사소통의 구조를 갖는다. 발레<심청> 역시 이러한 과정을 여러 차례 겪었고 그 결과 창작 이후로 성공적인 개작이 현재까지 이어지고 있다. 하나의 텍스트가 작품으로 구체화 된 후 소멸하지 않고 구체화 과정을 반복하여 끝없이 수정 보완되어 공연무대에 올려지고 있는 좋은 예가 된 것이다. 무용텍스트로서 발레 <심청>이 가지는 가치를 창조적, 심미적, 교육적, 문화적 가치의 네 가지로 나누어 볼 수 있다. 특히 문화적 가치에 있어서 주목할 사실은 발레의 종주국인 프랑스 ‘팔레 데 콩그레 드 파리(Palais des Congres de Paris)’에 초청되어(2012) 성황리에 공연을 마치는 등 한국발레의 해외 성공 사례가 되고 있다는 점이다. 초연 이후 현재까지 끊임없이 수정 보완하는 열정, 관객의 변함없는 호응은 발레 <심청>을 더욱 완성도 높은 작품으로 만들어 주고 있다. 현대의 예술 패러다임은 20C 초반 이래로 다양하게 나타나고 있다. 실증주의, 실존주의, 신비평주의 등을 거쳐 구조주의, 모더니즘, 해체주의, 포스트모더니즘, 탈해체주의 등 여러 사조들이 뒤얽혀 존재하고 있고 그에 따라 예술작품에 대한 새로운 수요도 다양하게 증가하고 있다. 공연환경은 급변하고 있고 관객의 기대나 호응 역시 다양하게 변하고 있으며 평론가들의 비평도 이에 따라 달라지고 있다. 발레 <심청>이 현재와 같은 호평 속에서 공연을 계속 이어가고 생명력을 가진 작품으로 남기 위해서는 급변하는 예술사조와 공연환경, 공연에 대해 달라지는 기대를 앞으로 어떻게 수용하여 표현하는지가 남은 과제라 할 것이다. 앞으로도 동서양문화의 훌륭한 조화의 상징적인 작품으로 명성을 이어가기를 기대한다. One of the special features of modern art trends is the point that the aggressive participation by the consumers is induced and supported in art. As the acceptance aesthetics view that carved in relief such a consumer-centered viewpoint, the theory of reader response criticism of Iser is a converted view that is differentiated from the preexistent creator- or text-centered acceptance aesthetics theory. The ballet ‘Shimcheong’ is a cultural product that has been consumed and enjoyed in the world while being a Korean creative ballet at the same time, too. Because the cultures of the East and the West coexist within the work of art, it is a work of art that can diversely express the interpretations and the meaning givings according to the acceptance method of the consumer. As such, because it had been thought that the work of analyzing by grafting the ballet ‘Shimcheong’ onto the theory of reader response criticism of Iser, which is a consumer-centered acceptance aesthetics view, is meaningful, in this research, ‘Shimcheong’, as a dance text, and the theory of reader response criticism of Iser had been considered together. Firstly, if I take a look at the process in which the text becomes the work of art after being concretized through the act of acceptance of the consumer in the theory of reader response criticism, the dance text has the special feature of being delivered at the site through the movements of the dancers on the stage after being created by the script writer, the choreographer, and the director, who are the producers. It has a difference from the texts in the other genres with regard to the point that the empathy that is felt by the consumer while viewing the performance and the things that were stored with the memories and the recollections after viewing the performance are made into an acceptance text. In concretizing a dance text that is delivered mainly with the visual images, the aggressive interaction between the producer and the consumer with the text as the medium is important. The consumer plays the proactive role of freely finding and concretizing, by himself or herself, the intention that is intended to be delivered by the choreographer, the suggested intention that can give a meaning although it was not clearly stated, or the others of the like. This pertains to the process of the joint play between the producer, the text, and the consumer. A text that had gone through the process of the play becomes a work of art. The concept of ‘text’ of Iser is a fictional text. And, due to the fictionality, the spaces of uncertainty, blank, etc. get created. As a phenomenological concept, while being inherent in the text, the consumer is an existence who gets regulated by the text. The consumer plays the role of filling the blank in the fictional text through the process of acceptance within his or her awareness. And, at this time, the uncertainty of the text, too, gets around to having a clear and definite meaning. As a result of the communication with the producer having taken place by being repeated through the proactive participation by the consumer, the text becomes a work of art after going through the process of acceptance. If I try applying the theory of Iser regarding the acceptance aesthetics structure to the Korean creative ballet ‘Shimcheong’, Shimcheong pertains to a dance text, the creators (The choreographer, the script writer, and the director) pertain to the producers, the dancers pertain to the cooperators of the performance and the yet other consumers, and the audience and the critics viewing the performance pertain to the consumers. They concretize the text through the free, mutual communication, and, as a result, ‘Shimcheong’ becomes a work of art. Meanwhile, by giving an influence to yet another text creation by the next producer again, the work of art of which the text had been concretized gets around to having the structure of circular communication that makes a new acceptance text. The ballet ‘Shimcheong’ had experienced such a process many times. And, as a result, ever since the creation, the successful remakes have been continuing until the present. It had become a good example in which, after having been concretized as a work of art, without becoming extinct, by repeating the concretization process, by being revised and supplemented endlessly, one text has been put up on the performance stage. The values that are possessed by the ballet ‘Shimcheong’, as a dance text, can be divided into four kinds. By changing the genre of the literature text, which is a traditional novel, into the dance text, it had been made so that the performance is possible. And, by not damaging the form and the choreography of the ballet while saving the Korean sentiment, too, the possession of the universality and the accessibility as a public art pertains to the creative value that is possessed by ‘himcheong’. All of the main organizations of the classical ballet, including the grand pas de deux and the divertissement, which are the typical ballet performances that are worthy of watching, the pas d'action, which induces the following of the development of the drama, etc., are inside. And each part gets delivered while having the life force. And the point that the level of completion as a ballet performance had been shown while saving the Korean things, including the clothes, the music, the choreography, etc., just the way they had been, can be evaluated as an aesthetic value. ‘himcheong’ has been delivering the humanity of ‘ilial duty’ through a drama-consistent message. Here, the traditional, moral customs, too, of Korea, in which the ordinary people coexist and share the emotions with the neighbors, have been expressed in a natural way. Although filial duty is a moral canon that is emphasized in the Orient, despite being somewhat of a children's story and despite the somewhat exaggerated setup, while the audiences in the diverse cultural spheres have been watching the performance, the fact that the humanity- including filial duty, altruism, etc.- had been sympathized with means that 'Shimcheong' had delivered an educational value, too. Regarding 'Shimcheong', which has been performed for a long time in over 26 countries of the world for over 30 years ever since the premiere in 1986, the following points have been continuously receiving the favorable comments not only in Korea, but, also, at many places in the world: The point that it had a traditional story in Korea as the subject matter; The point that there had been a lot of participation by foreigners in the creation process; The point that a foreign dancer had been in charge of, and had acted for, a Korean character; The point that the traditional dance and the ballet had achieved a harmony; The point that the Korean culture and tradition had been represented well through the clothes, the music, the background, etc.; And the others of the like. As an excellent, intangible asset of the Korean ballet circle, the cultural value has been emitted. It has been an overseas, successful case example of Korean ballet, including successfully finishing a performance after being invited (2012) to Palais des Congres de Paris in France, which is the suzerain of ballet, and the others of the like. The passion of unceasingly revising and supplementing and the unchanging positive response of the audience ever since the premiere until the present have been making the ballet 'Shimcheong' into a work of art that has an even higher level of completion. The art paradigm of modernity has been appearing diversely ever since the early phase of the 20th century. By going through positivism, existentialism, new criticism, etc., the many thought trends, including structuralism, modernism, deconstruction, postmodernism, deconstructionism, etc. have been existing by being entangled. And, according to this, the new demand, too, regarding the works of art has been increasing diversely. The performance environment has been changing rapidly. And the expectation and the positive response of the audience have been changing diversely, too. And the criticisms, too, of the critics have been becoming different according to this. In order for the ballet 'Shimcheong' to continue the performance continuously with the favorable reviews like the present and remain as a work of art that has the life force, it can be said that how to accept and express the rapidly changing artistic thought trends and performance environments and the expectation that becomes different regarding the performance in the future is the remaining task. I have the high expectation that it will continue the fame as a symbolic work of art with the excellent harmony of the cultures of the East and the West in the future, too.

혁명연극 <성황당>의 수용미학적 고찰 -관객의 감정적 수용성을 중심으로-

이주미 ( Lee Jumi ),홍재범 ( Hong Jaebeom ) 겨레어문학회 2021 겨레어문학 Vol.66 No.-

주체시대에 인민성이 당성, 노동계급성과 더불어 북한 문학예술에서 중요해졌다. 인민성은 텍스트를 창작할 때 이를 소비하는 수용자의 입장을 고려했다는 점에서 주목할 만하다. 문학예술이 유일사상체제를 선전하는 수단이었던 만큼 인민성, 즉 수용자들이 쉽게 이해하고 받아들일 수 있는 텍스트의 대중성이 중요해질 수밖에 없다. 텍스트를 소비하는 주체인 수용자가 텍스트를 이해하고 해석하면서 국가 이데올로기를 올바르게 받아들여야 하기 때문이다. 인민성은 수용미학과 접점을 가진다. 수용미학은 창작가-해석자-수용자의 연결에서 수용자의 기대지평을 고려하면서 창작한다. 북한도 텍스트를 최종적으로 해석하는 관객들의 기대지평을 고려하여, 극의 내용과 형식에서 감정조직 구성을 통해 특정한 분위기 미학을 조성한다. 그런 의미에서 혁명연극 <성황당>은 북한에서 주체시대에 관객들이 어떤 방식으로 감정적으로 수용하는지에 대해서도 살펴볼 수 있다. 김일성 창작의 항일혁명연극인 <성황당>이 1978년 재공연되면서 당시 관객들의 반응을 보면 이 연극 텍스트만의 분위기 미학을 조성과 텍스트에 대한 관객의 수용성이 감정조직 구성으로 의도되고 있다. <성황당>은 웃음과 슬픔의 감정이 직교하면서, 내용과 형식 면에서 감정조직을 구성하여 관객들은 하나의 감정 공동체가 되어 텍스트의 주제이자 국가 이데올로기인 인간의 자주성을 체득하게 된다. In Juche era, the principle of the people became as important as the principle of Korean Workers’ Party, and the principle of the working classes in North Korean literature and art scene. The principle of the people is significant in a sense that writers now consider the viewpoints of audience who reads and views the texts. Literature and art was the only tool to advertise their propaganda ideas of only-one, texts with the principle of the people, in other words, texts that can be easily accepted by audience tends to emhasize the popularity because the persons who consume texts understand and interpret them to receive the national ideology correctly. The principle of the people has a common point with acceptance aesthetics. In acceptance aesthetics, they create texts by considering expectations of receiver in the chain of artists, interpreter and receiver, In North Korea as well, they consider the exepectation of audience who interprets the arts in order to create a specific aesthetics of atmosphere through emotional setups in the format and style of drama. In that sense, the revolutionary drama Seonghwangdang can reveal to us how audience in Juche era emotionally receives the arts. Kim Il Seong’s anti Japanese revolution drama Seonghwangdang was replayed in 1978 and looking at the audience reaction that time, the unique aesthetics of atmosphere of the drama is intended as emotional setup for the audience. In Seonghwangdang, laughter and sadness interesect with each other, and an emotional setup is made in format and style, thus audience becomes emotional community to learn the human’s independence which is the national ideology and the main subject of the drama.

전북민요의 ‘소용돌이 미학’

김익두 한국민요학회 2008 한국민요학 Vol.22 No.-

This article is a study on beauty of folk song of Chonbuk province. Aesthetic characteristics of Chonbuk province are as follows:‘open acceptance’, ‘fusing collision’, ‘accumulative variation’. Here, ‘open acceptance’ means that folk songs in Chonbuk accept openly all of the traditions and dictions of folk songs from all of Korean areas. ‘Fusing collision’ means that various traditions and dictions of folk songs that accepted openly from Korean area are stricken against each other in this area. And ‘accumulative variation’ means that all of the various traditions and dictions that accepted openly from Korean areas raise a large number of variations and are accumulated in the tradition of folk song of this area. In conclusion, aesthetic characteristics of folk songs in Chonbuk province can be named ‘beauty of whirlpool’.

디지털 패션의 매체 미학적 관점에 관한 연구

박민아 ( Mina Park ),고현진 ( Hyun Zin Ko ) 복식문화학회 2017 服飾文化硏究 Vol.25 No.1

When digital media and images are combined, their significant sociocultural impacts can be exercised. Therefore, this study analyzes digital images shown in such trends of digital media compared to the digital fashion from an aesthetic perspective. Research and empirical studies are focused upon to analyze the aesthetic characteristics of digital fashion. Digital Fashion comprehensively refers to fashion design using computers and software, and is considered as “Fashion Design utilizing Digital Technologies” including computer software and hardware perspectives, so that it may be renamed “Digital Fashion.” The esthetic characteristics shown in the Digital Fashion defined above are analyzed according to how media philosophers conceptualize the digital image. First, from the perspective of creation, Digital Fashion Images are technical images produced by computers. Uncanny characteristics expressed through virtual images look more realistic than the actual ones used in experimental works of fashion designers. Such virtuality dynamically expresses various colors and fabric patterns through lights using digital technologies that do not yet exist in cloth form, rather in a non-material form of dynamic virtual imagery. Digital fashion images on monitors express digital fashion designs by shaping virtual images through 3D printing. Second, Digital Fashion Images from the perspective of acceptance are created through deconstruction, while fashion has only been previous viewed visually, Digital Fashion delivers immersions of visual touches as if directly experienced for accepters. Digital Fashion will continuously develop and become more influential as it converges with digital media.

《红楼梦》韩国接受概述

서설매 한국중국문화학회 2011 中國學論叢 Vol.34 No.-

This paper from the perspective of reception aesthetics to organize and introduced in recent years the people of Korean scholars of "a dream of red mansions" and accept. Think "a dream of red mansions" Korea for earlier and have the world first hocks, in" a dream of red mansions" on the evaluation has the important position, the modern Korea Hong-xue-jia and Enthusiasts research a wider range, in translation text, evaluate and accept the operatic all contribute to Korea, "a dream of red mansions" research has laid a good foundation. In "a dream of red mansions" system study is still have a bigger space. 본 논문은 미학적인 시각에서 紅樓夢에 대한 한국 학자의 접수와 연구 상황에 관하여 분석한 논문이다. 红楼梦은 매우 이른 시기에 한국에 전래되었고 세계에서 처음으로 완역본을 구비한 나라로 홍루몽 번역사에 있어서 중요한 위치를 차지하고 있다. 현재, 한국의 紅學者와 愛好家들의 연구범위는 비교적 광범위 하다고 볼 수 있다. 다시 말해서 번역, 文本, 評點 및 접수 등 여러 측면에서 훌륭한 업적을 이루어 한국의 홍루몽 연구에 견실한 기초를 다졌다.

수용미학 관점에서 본 <지젤(Giselle)> 텍스트의 의미

배금연 ( Keum Yun Bae ) 대한무용학회 2007 대한무용학회논문집 Vol.51 No.-

A basic study of acceptable aesthetics mentioned in the study is being carried out in the science of literature, and there has been no study of acceptable aesthetics considering original characteristic of dancing arts so far. So the research might have errors in analyzing and interpreting the works. Historical criticism has focused on the historical and social context due to acceptable aesthetics and formalistic criticism has been obsessed with the text itself. To overcome these two criticism and to make comprehensive analysis including text, history and even audience, it seems a close examination on difference and sameness between literary text and dancing text is necessary. <Giselle> was newly borne with thoughts and emotions of current era, and became the art of medium by symbolically portraying the vision of transcending space through the imagination of creator. In particular, the meaning of text is a refined expression of dancer`s desire in his life such as social cultural experience, environment and context. The result of analysis applying the theory of acceptable aesthetics on the text of <Giselle> is as follows. First, the analysis of narrative structure shows that the text of <Giselle> integrated supernatural elements and local elements with the logic of drama, and created many beauties encouraging visual fantasy by attaching importance to the liberty of thinking and feeling in works of romantic structure. Second, the analysis of characters in the works shows that all subjects are pursuing their objects. Giselle is also pursuing her object which is Albrecht. Hilarion and Bathilde are obstacles who interfere Giselle`s pursuit of object, while Wlafrid and Willy is helping her to achieve what she wants. Myrta is a sender who helps the subject meet the object and the receiver of benefit is Giselle herself. Third, according to the analysis of the meaning of creator, the theme of the works is idealistic due to supernatural and mysterious content and form, and the work has great lyricism by liberalizing imagination and inspiration. It has technical change and development through the particular ways of expression and trend of work. Thanks to this work the ballet became popular art from the noble art. Fourth, from the meaning of accepter, Giselle tried to console herself from romantic fancy whenever she failed to have feeling of mental freedom and she tried to escape from miserable life and reality, and find fanciful and passionate life full of emotion and desire. This fanciful life is expressed as strong obsession with nostalgia for the past, mystery, exotic and supernatural things. Fifth, the meaning of each dancer`s acceptance shows the greatness of <Giselle> as it keeps being played on the stage with different interpretation and is the one of greatest classical works as well. In this point of view, the acceptable aesthetics study of ballet works enables new analysis and evaluation of aesthetic value based on the contextual relationships between contemplator(dancer) and contemplator(audience) or to their new interpretation. It can be considered a good methodology complying to the trend of the arts in the 21st century.

역사 다큐멘터리 영상미학의 수용성 연구

신명희 ( Myoung Hee Shin ),김창숙 ( Chang Sook Kim ) 한국지역언론학연합회 2006 언론과학연구 Vol.6 No.3

본 연구에서는 KBS <HD 역사스페셜>을 대상으로 변화하는 다큐멘터리 프로그램의 영상기법들을 분류해보고 수용자들이 이를 어떻게 받아들이고 있는지를 살펴보고자 하였다. <HD 역사스페셜>은 다큐멘터리에서 사용하고 있는 기존의 영상기법들과 더불어 새로운 형태의 표현기법과 시공간 결합을 선보이고 있었다. 특히, 과거와 현재가 중첩되거나 버추얼세트를 활용한 자유로운 공간이동 등은 현실적인 시공간개념을 넘어서는 새로운 시도들이었다. 이러한 영상기법들에 대해서 적합도와 선호도에서는 큰 차이를 나타내지 않았으나, 두 가지 이상의 기법 결합, 시공간의 중첩 등이 기존의 기법과 비교하여 친근하지 않은 기법이라고 평가하였다. 수용자들의 언어화 반응에서는 버추얼세트에서 이루어지는 해설이 신기하고 재미있으며 공간을 효율적으로 이용하는 것에 대해 긍정적으로 평가하였으나 기술의 완성도가 떨어지고 인위적인 느낌을 준다는 의견을 제시하였다. 과거와 현재의 중첩에 대해서는 실재감이 떨어지고 어색하며 혼란스럽다는 의견을 보여 익숙하지 않은 해설기법에 부정적으로 반응하였다. 인터뷰기법의 경우는 친근감은 높게 평가하였으나 배경이나 구성이 지루하고 딱딱하다고 응답하였다. 재연기법에 대해서는 재미있다는 반응이 대부분이었으나 극적인 상황설정으로 역사적 사실로써의 신뢰감이 낮다고 응답하였다. 마지막으로 보이스-오버 내레이션을 이용한 현장화면과 자료화면에 대해서는 신선한 면은 부족하지만 역사다큐멘터리 장르의 특성상 빠져서는 안 될 중요한 기법으로 평가하였으며, 자료화면 가운데 컴퓨터그래픽의 이용은 이해를 쉽게 하는데 도움을 준다고 응답하였다. 특히 현재는 손실되어 직접 확인할 수 없는 것을 디지털기술을 이용하여 복원한다는 점을 높게 평가하였다. Recently, the documentary genre is attracting more audience with new trial. The purpose of this study is to investigate the audience`s acceptability of applied media aesthetics factors in TV History Documentary, <HD History Special>. Therefore, this study attempted to address three research questions in the follow: <RQ 1> What are the applied media aesthetics factors in TV History Documentary, <HD History Special>? <RQ2>What is the audience`s acceptability(suitability, affection, preference) of applied media aesthetics factors in TV History Documentary, <HD History Special>? <RQ 3> What is the audience`s protocol response of applied media aesthetics factors in TV History Documentary, <HD History Special>? As a result, there are the composition of time and space that doesn`t fit in with the reality, material and reconstruction using simulation, explanation in virtual set and interview with man in history and so forth in the applied media aesthetics factors in HD History special. second, it is found the difference between new and old aesthetics factors in affection. Finally, through audience`s protocol analysis, it is found that new media aesthetics factors give the audience freshness and pleasure as positive response, on the other side, and also give confusion and the sense of unreality as negative response.

에스테틱매거진의 콘텐츠 품질이 구독자의 정보수용태도와 행동의도에 미치는 영향

차유미,이인희 한국미용학회 2020 한국미용학회지 Vol.26 No.3

This study attempted to investigate the effects of contents quality factors on the information acceptance attitude and Behavioral Intention of Subscribers. For this, A questionnaire survey was conducted on subscribers who have experiences in online services of aesthetic magazine. Among a total of 465 questionnaires distributed, 480 copies excluding 15 poorly answered ones were used for final analysis, and the results of the study are as follows: First, It was found that the higher the aesthetic magazine's information quality, system quality and service quality, the higher the subscriber's information acceptance attitude. Second, It was found that the higher the aesthetic magazine's information quality, system quality and service quality, the higher the subscriber's information availability intention and relationship maintenance intention. Based on the results of this study, We hope that It will further be utilized as a basic data to help produce specialized beauty contents of aesthetic magazine and establish strategies for operating the online system environment based on subscriber's needs.

Design aesthetics consideration on using mobile phone

조숙현,홍세준 한국경영정보학회 2008 한국경영정보학회 학술대회논문집 Vol.2008 No.-

디지털 시대의 가상 박물관과 수용 미학

신혜경 차세대컨버전스정보서비스학회 2023 디지털예술공학멀티미디어논문지 Vol.10 No.3

이 연구는 가상 현실 창조 모델의 하나인 가상 박물관 설치물에 관한 것이다. 디지털 시대의 기술 발전에 따른 현실의 변화는 디지털 미디어 예술의 신장을 가져온다. 디지털 매체 예술은 인간의 정신과 감정을 끌어들이는 거대한 유형의 태도와 체계, 구조, 전략의 단계를 다양하게 열어 놓는다. 이런 맥락에서 우리는 제프리 쇼의 매체적, 기술 미학적 작업의 특징에 주목하여 가상 박물관의 새로운 패러다임과 수용의 변화를 살핀다. 제프리 쇼는 증강 및 가상 현실, 몰입형 3D 시각화 환경, 대화형 내러티브 분야에서의 창의적 사용을 통해서 가상성 및 쌍방향 커뮤니케이션과 인터랙티브 시각적 환경 생성에 기여함으로써 디지털 예술의 새로운 미학을 제시한다. 즉, 가상 공간의 창조 내에서 참여를 전제로 사용자 인터페이스와 상호 작용의 형태, 내용의 발전 및 다중 감각 경험의 독립적인 미적 공간을 생성한다. 이는 디지털 예술에서 무엇보다 수용자의 역할을 지향하는 과정의 예술과 열린 예술 및 공감각적인 미적 감수성을 제공한다. This study is about a virtual museum installation as one of the virtual reality creation models. The change of reality according to technological development in the digital age brings about the growth of digital media art. Digital media art opens up various levels of huge types of attitudes, systems, structures and strategies that attract the human mind and emotions. In this context, we look into the new paradigm of the virtual museum and the change in acceptance by paying attention to the characteristics of Jeffrey Shaw's media and technical aesthetic work. Jeffrey Shaw proposes a new aesthetic of digital art by further advancing virtuality and interactive communication and creation of interactive visual environments through creative use in the fields of augmented and virtual reality, immersive 3D visualization environments and interactive narratives. In other words, it creates an independent aesthetic space of user interface, interactive behavior, development of content and multi-sensory experience on the premise of participation within the creation of virtual space. In digital art, that provides process art, open art and synesthetic aesthetic sensitivity that focus on the role of the recipient.