벤처 현장통신-일하고 싶은 첨단 공간 가꾸기

고현정,Go, Hyeon-Jeong 벤처기업협회 2003 벤처다이제스트 Vol.33 No.-

성인의 전환적 학습과 무용

고현정 ( Go Hyeon-jeong ) 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.4

When learning adults, we no longer see it as simply acquiring knowledge and skills. Adult learners often seek more education to learn new knowledge or not fall behind in order to adapt to social changes. At the same time, we should learn to make our own interpretations rather than act on other people’s purposes, beliefs, judgments, and emotions. Promoting such understanding is the basic goal of adult education. The core of transformative learning is defined as the process of transforming the frame of reference already held by adults, including mental habits, perspectives, assumptions, and expectations, and focuses on understanding the meaning of experience with autonomous thinking. This study explores the question of how basic values and assumptions already established throughout adult life, such as society, culture, and education, can be transformed through learning by exploring the transformative learning as a way to transform the meaning of these experiences into new thinking. Therefore, this study discusses the value and role of dance as the transformative learning for adults by discussing where dance is located and how it plays its role in transform the frame of reference for communication, and aims to expand dance education. This study discusses the following purpose: First, to investigate education for value and communication to a new perspective in adults, it discusses the concept of the transformative learning and the critical reflection, which is the essence of adult education, and explore the dance to communication. Second, to explore the transformative learning as open communication that sympathises with others, it explores emotion and body implications in the transformative learning recognition and depicts the role of dance for the reconstruction and expansion of adult baseline frames.

무용 공간의 초 커뮤니케이션 기능 고찰

고현정 ( Hyeon Jeong Go ) 한국무용교육학회 2015 韓國舞踊敎育學會誌 Vol.26 No.4

Dance consists of a dancer`s sensory experience as well as her/his inner experience. On the other hands, it also offers aesthetic beauty and pleasure to the audience. Dance possesses cognitive aspects including observation, imitation and performance, and emotional aspects including stimulation, feeling, attention and expression through the continuous training and practice which interact each other. Dance has not only visual elements but it is also kinesthetic arts which feels and understands through the entire of the body. In a dance performance, the dancer evokes the feeling of inner experience and the process of self-reflect, and the audience observes the dancer`s intended performative state. If so, it could be argued that how the communication emerges and processes through the non-verbal dance movement. With this interrogation, this study explores the relationship between a dancer and an audience in a dance performance through the contemporary interests of embodied dance to understand how the audience perceives the dancer`s movement based on phenomenology and cognitive science. The nature of artistic creativity may be metaphoric thinking which offers cognitive and emotional elements of communication between choreographer, dancer and audience. Therefore, this study aims at exploration of the metaphoric space which may be able to extend the potential of the dancer and audience relationship through the metacommunicational perspective discussion. This study examines firstly, to discuss the process of perceiving dance for the audience, it assumes that body, mind and brain are all connected and analyses the cognitive system through cognitive neuroscience. Secondly, to discusses the emotional reaction and awareness between the dancer and audience, it explores the audience`s kinesthetic empathy with the dancer`s body movement. Lastly, it could be argued that when the audience perceives the dancer, her/his cognition is also activated. Therefore, intersubjectivity is discussed to explore the greater and potential relationship between the dancer and the audience through metaphoric space.

자문화기술지의 학문적 적용과정과 무용 자문화기술지 방법론 연구

고현정 ( Hyeon Jeong Go ) 한국무용교육학회 2013 韓國舞踊敎育學會誌 Vol.24 No.1

There are some raising questions about reliability to derive the most proper information in a research thesis when a researcher researches or investigates other`s experience. It is difficult for a researcher to generalise other`s knowledge groundwork because it obtains through one`s very own personal experience. Neither comparable nor definable one`s inner insight, which gains his/her individual lived experience, because it contains various values. In contrast, research into researcher his/herself, it enables him/her to explore the subject in depth and authentically. Therefore, it is argued that autoethnography, which uses researcher his/herself as a major subject as well as data of the research, is able to recognise the importance of one`s own livedexperience as a social contexts in a broad perspective. In this article, it focuses on practice-based research, which blurs research and researched based on ontological thought, and analyse autoethnography to explore the validity for research into one`s individual self. This article argues, Firstly, autoethnography is an emerging methodology in that it is necessary to describe its brief theoretical background as well as methodological value and criticism. Secondly, it is said that dance is mostly, composed of a dancer`s inner experience, which is difficult to define and depict, and therefore, it argues the suitability of autoethnography as a methodology for dance. Finally, it analyses the moment of arising different perspectives when the researcher`s subjective and personal thought transform into very objective text, and through this mixing process it investigates the validity of self-research. It is still very rare to use autoethnography as a methodology in academic dance filed, even though it already emerged practice-based research which is researcher analyse his/her own work. Therefore, the essential aim of this article is explore the value of research into researcher`s his/herself to prove reliability and validity of practice-based research through autoethnography.

논문 2 : 무용수의 통합적 지각과 창의성 뇌 발달의 잠재성 고찰

고현정 ( Hyeon Jeong Go ) 한국무용교육학회 2015 韓國舞踊敎育學會誌 Vol.26 No.1

Body occurs new receptive capacity through various process in every stages of its development and becomes its completion as it develops over and over again. It does not mean that adult, who has been through many stages of developments, has no development stage but rather it cannot prove her/his potential with a object measure. Physicalism, which is based on metaphysical principles, claims physical science can explain every mental phenomenon and it is the crucial element of deciding what there is. Applying to the perception into dance, it can say that dancer`s body movement is a physiological event through which neurological occurrence. They argue that the mind, which includes capability to think, emotion, passion etc., is only a functional system of operation decided by physical construction that is nothing more than the brain. However, dance cannot understand without dancer`s special intention to move, inner emotion to display and embodiment of movement which are difficult to draw a define answer. However, it is valuable analysing how dancer`s brain perceives the activity, which includes dancer`s embodied intention and thinking, and how she/he executes and creates the complex movement. Dancers do not focus on the details of the movement itself while they are dancing. Then, do they dance unconsciously? Understanding unconscious is a ongoing challenging sphere in psychology and neuroscience field. Therefore, this study aims at exploring potential of creativity of dancer through the relationship between conscious and unconscious, and analysing dancer`s perception of her/his bodily knowledge via neurobiological way. This study examines firstly, an analysis of the process of mapping body in dancer`s brain to understand how dancer recognises the object and the world. Secondly, it discusses dancer`s integrated process of development based on the idea of body and mind do not exist in separation. Finally, it depicts the potential of creativity through dancer`s development process with an analysis of circuit of brain development focus on cognitive unconscious.

트랜스리터러시와 무용의 문화적 텍스트 고찰

고현정 ( Go Hyeon-jeong ) 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.3

Our life in 21th century has an unseparable relation with objects which have screens and internet such as a mobile phone and a computer screen. These tools are ubiquitous and globally networked and so, vast informations spread rapidly through the tools. However, reading these media are dependent on the effectiveness of technology therefore, screen image cannot be understood without having the specific recognition and the cultural literacy. Literacy has to develop continuously to read social transforms and acquire the method of engaging the world where the students live. Literacy as a main method to interpret, manage and product the world, is placed within our social practice and ideology. It develops continuously according with the phases the times through analysing, acting, depicting and exploring the interaction between human and human, and human and objects. Therefore, this study aims to expand the cultural role of transliteracy with metaphorical exploration of how dancing body text communicates within social·cultural practice and ideology. As a primary method to interpret and product the world in media era for communication process to understand contemporary culture, this study interrelates how transliteracy culturally conceptualise through speaking, auditory, language, and different sign system, and how different message produces the culture in multiple media. This study explores, firstly, it considers the knowledge that literacy contains as a primary method to interpret, manage and produce the world and describes the type of communicative knowledge of transliteracy. Secondly, it depicts producing culture through interaction between human and human, and human and objects which are grounded on social·cultural practice as a learning to understand media in digital media era. Lastly, it explores the characteristics of transliteracy text and dancing body text for the comparative analysis on exploring the communicative spaces of transliteracy.

앎과 지식 구성을 통한 PBL지식창출 공간 고찰과 대학무용교육 모듈

고현정 ( Go Hyeon-jeong ) 한국무용교육학회 2017 韓國舞踊敎育學會誌 Vol.28 No.3

As society migrates toward post industrial, we live in rapidly changing world with massive information. The effective knowledge in which this society requires, is no longer staying with traditional epistemology. Recently, it is argued that acquired knowledge through university is not usable sufficiently to solve complex problems generated by working environment. Therefore, in this study offers Problem- Based Learning module that begins with solving problems in real working life in dance curriculum. The way of solving real world problems require various skills development through self-learning and interdisciplinary. PBL offers acquisition of knowledge of those elements through interaction and cooporation with other in community. This study awares of the importance of PBL approach in university curriculum especially for dancers who are used to acquiring knowledge with their bodies. Therefore, this study aims to offer the validity to PBL approach through exploring what is our knowledge and knowing based on epistemology and ontology. This study examines, firstly, exploring knowledge constructivism through analyisng the type of knowledge and the process of knowing. Secondly, analysing the validity of constructivism learning and constructivism knowledge. Thirdly, exploring the knowledge producing space within PBL approach and offers effective dance curriculum based on PBL.

논문 6 : 무용언어의 기표, 기의 간극의 표현을 위한 연구방법론 고찰

고현정 ( Hyeon Jeong Go ) 한국무용교육학회 2016 韓國舞踊敎育學會誌 Vol.27 No.1

As dance is an instrument of expressing one’s emotion, it exists almost every society in various forms. It is also an aesthetic art form to allow to feel and express emotion of which more magnificent range than when it is in everyday life. Dance is able to deliver various and rich feeling because it expresses and stimulates emotion with human body through perception of multiple senses, but it is hardly explained with one definite word. Dancer shows the intention through the movement, which is consist of her/his inner experience and the audience sees the long process of dancer’s embodiment even though it is covered by codified movements. Therefore, this study begins with interrogation of how well interpret the expression intention which involves dancer’s inner experience that cannot explain with clear words and moreover, how to document such a subjective feeling and experience with socialised objective language in dance study. Dance reveals aspecific process within semiotic because its image through which enculturated human movement, pervades with social and cultural codes. Therefore, this study analyses the relationship between language and dance using associated with semiotics in that dance posits the exterior movement as signifiant and its interior embodied long process as signifie. This study aims to discuss the potential of various dance studies with suggestion of proper methodology to argue dancer’s indefinite inner experience to reveal semiotic function of dance. This study considers that Firstly, to analyse how dancer and audience communicate, it discusses kinesthetic empathy throughout a dance performance. Secondly, dance movement as significant, it depicts the notion of truth in the text, which dance study uses, to explore proper methodology based on the criterion of the postmodernism through its epistemology and ontology. Finally, it explains the destruction of hypothetic binary within the relationship of dancer and audience to proposes methodologies to deliver dancer’s a sort of signifiespace and its value to document with seemingly objective texts.

트랜스미디어를 통한 무용학습 디자인과 컨버젼스 공간 고찰

고현정 ( Go Hyeon-jeong ) 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.2

The advent of massmedia introduces the change of perspectives with offering expanded the spectrum of the learning methods through various languages of technology, platform, communication format, and different contents. This allows great challenges to the various disciplines especially the education sphere. There is learning, which is under the environment of rapid changes, through the enhanced interaction, participation, ubiquitous information and communication penetration. Consequently, it causes the occurrence of the new forms of expression through media literacy and digital literacy. This means it is inevitable that we have to be aware of reading and writing through media technology. Transmedia is able to develop the contents of communication through learning of the media technology method of the application. It becomes popular as a learning method internationally because it adapts the space between learners, learners and teachers into a new sphere with amplifying the synergy. Therefore, this study aims at offering the principles and the foundation of dance learning design. This study considers that, Firstly, it explores the elements of the consideration during the process of constructing story to contemplate transmedia space as learning, and the potential capacities of learning, which contains the characteristics of each media, to offer the validity of transmedia learning. Secondly, it examines the notion and the role of text to operate transmedia learning and explores various strategies for the text. Finally, it discusses what is transmitted and what design is approachable to multimedia design and a learning process in dance. It illustrates a transmedia learning design for dance through exploring the narrative elements of dance to solve the problem in online as well as the physical environment.

무용교육에서 개인내 지능과 대인간 지능의 연계구조 : 호주 연계망 무용교육을 중심으로

고현정 ( Go Hyeon-jeong ),이해준 ( Lee Hea-jun ) 한국무용교육학회 2017 韓國舞踊敎育學會誌 Vol.28 No.1

Dance is often associated with knowing the world in space and`Being-in-the-world`. Generally speaking, human body in time and space is manipulated by the social and the cultural system, which surround it, and I and others. The harmoni-ous relationship between I and others, and the communication are the essential elements to maintain our life. The body in these processes is automatically trained and absorbed the environment and it becomes the central agent. Dance, which is mainly composed of dancer`s body movement, is a multifaceted arts form involving cognition, emotion, and kinesthetic empathy. Horward Gardner recognised dance as an art form of being able to use intelligence skills broadly and variously through his theory of multiple intelligence. Therefore, this study aims to offer the validity of dance education through exploration of network knowledge of dance education specifically two aspects of some of the characteristic of Australian dance education to inform multiple intelligence within dance. This study examines, firstly, analyising the space in which enhancing intelligence through dance. Secondly, exploring the intrapersonal in-telligence in dance through analysing bodily knowledge and the dancer`s brain. Thirdly, analysing kinesthetic empathy not only within the dancer but also the audience to explore interpersonal intelligence in dance.