퍼포먼스로서의 도시 연구 시론 = The Preliminary Study on City as Performance

다국어 초록 (Multilingual Abstract)

This article focuses on city space as a practice of spatial turn to appropriate space newly. Then, this paper has a distinction in an attempt to regard cities as performing arts. In other words, this article examines the performativity implicit in spatial lives in city space. Via inter-subjective embodiments among citizens, events happen for newly creating meaning, identity, and community. The realness of urban life and its transformation stem from the daily mutual action between the architectural space and urban citizen, resulting in definitively features of urban life.
In city dance of < Pungjeong·gak > and < Flame-like Rush of Seoul Wandering >, the city memories of Nagwon Arcade and Seun Arcade are reappearing by dancers' passing through the built memories. < Pungjeong·gak > is aesthetically successful that the materiality of solid architecture is configured like another cast actor by expressing Nagwon Arcade's history through dancing, as if it has undergone all sort of human's emotions. < Flame-like Rush of Seoul Wandering > too achieves its aesthetics in the scene that dancers do their dances listening to each other's music with earphone while audience looks down it at higher floors. Through the monument, the dancing body continues to be rewritten at the present moment while dislocated, disappearing into the past of the absence. The uncanny tensions due to the passage of such dancing bodies resist the simple reproduction of the archives of the buildings, then leave fleshes as bodily traces to the solid skeleton of monumental architecture. As a result, the potential for collective experiences and social memory, namely, the possibility of transforming the city, is emergent.
In urban dancing of < Long Distance Voodoo > and < Urban Alphabets >, cities' meaning is more newly produced and understood with urban media. Digital media makes it possible due to its interactivity, networked-ness, ubiquitous qualities, process-oriented, dynamic, real-time, and variable qualities; thus, when they are activated in urban space, more collective and collaborative mapping of urban environment become realized. The urban media dances of < Long Distance Voodoo > and < Urban Alphabets > illustrate this. In < Long Distance Voodoo >, the senses of isolation and intimacy commonly felt in urban space, and their psychological geography are remapped through urban media dance. In < Urban Alphabets >, according to the 'kinetic facade', public spaces are playfully re-appropriated. The urban alphabets and urban postcards of pedestrians visualized on the screen remap the psychogeography of the urban space to the public space of the playground. Under current situation of urban environment with more media-orientations, these works indicate how for the meeting among people to change, correspondingly, how for individual and community identity to alter. The implications of these performances are the more opportunities to experience the public sphere of the city as a theatrical stage of the encounter and as a platform to promote mutual action among citizens in the public domain of the pre-mediated city by digital data.

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