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    포스트휴먼시대 인간과 함께 하는(함께 하지 않는) 무용: 점유되지 않은 기억, Hsiao Ho-wen 자동화 인형 프로젝트: 리위안의 새로운 상상 = Dancing with(out) Humans in the Posthuman Age: From Emptied Memories to New Vision Liyuan: Hsiao Ho-wen Automated Marionette Project

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    https://www.riss.kr/link?id=A105366219

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    In recent years, creative partnership between technology and the performing arts has been on the rise. In relation, theorists such as Donna Haraway(1985), Katherine N. Hayles (1999) and Rosi Braidotti(2013) have discussed the impact of cyborgs, robots, and virtual bodies to the humans in our contemporary society.
    This paper aims to discuss two examples from Taiwan involving dance and technology, namely New Vision Liyuan: Hsiao Ho-wen Automated Marionette Project(2011~2014) produced by Etatlab and Emptied Memories by Very Mainstream Studio(2012). The former is an interdisciplinary experiment between traditional Liyuan opera from southern China and computer operated life-size robot-marionette; while the latter is a collaboration between theatre/film director Chou Tung-yen with choreographer/dancer Chou Shu-yi in the use of real and projected dancing figures on stage.
    Through a comparative analysis of how these two works incorporate dance and technology in different aspects, I discuss ways of human and non-human interaction on stage, as well as the different experiences with which audiences can engage.
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    In recent years, creative partnership between technology and the performing arts has been on the rise. In relation, theorists such as Donna Haraway(1985), Katherine N. Hayles (1999) and Rosi Braidotti(2013) have discussed the impact of cyborgs, robots...

    In recent years, creative partnership between technology and the performing arts has been on the rise. In relation, theorists such as Donna Haraway(1985), Katherine N. Hayles (1999) and Rosi Braidotti(2013) have discussed the impact of cyborgs, robots, and virtual bodies to the humans in our contemporary society.
    This paper aims to discuss two examples from Taiwan involving dance and technology, namely New Vision Liyuan: Hsiao Ho-wen Automated Marionette Project(2011~2014) produced by Etatlab and Emptied Memories by Very Mainstream Studio(2012). The former is an interdisciplinary experiment between traditional Liyuan opera from southern China and computer operated life-size robot-marionette; while the latter is a collaboration between theatre/film director Chou Tung-yen with choreographer/dancer Chou Shu-yi in the use of real and projected dancing figures on stage.
    Through a comparative analysis of how these two works incorporate dance and technology in different aspects, I discuss ways of human and non-human interaction on stage, as well as the different experiences with which audiences can engage.

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    참고문헌 (Reference)

    1 "White Paper on Small and Medium Enterprises (SMEs) in Taiwan, 2004"

    2 Massumi, Brian, "What Animals Teach Us about Politics" Duke University Press 2014

    3 Haraway, Donna J, "Simians, Cyborgs, and Women" Routledge 1991

    4 Braidotti, "Rosi. The Posthuman" Polity Press 2013

    5 Huang Chien-hung, "Re-TechArt: History of the Department of New Media" TNUA Press 2010

    6 Etatlab, "New Vision Liyuan—Hsiao Ho-wen, Automated Marionette Project"

    7 Hayles, N. Katherine, "How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics" University Of Chicago Press 1999

    8 Chou, Tungyen, "Emptied Memories" Very Mainstream Studio 2013

    9 Dixon, Steve, "Digital performance: A history of new media in theater, dance, performance art, and installation" MIT Press 2007

    10 "Challenge 2008: Six-year National Development Plan (2002-2007)"

    1 "White Paper on Small and Medium Enterprises (SMEs) in Taiwan, 2004"

    2 Massumi, Brian, "What Animals Teach Us about Politics" Duke University Press 2014

    3 Haraway, Donna J, "Simians, Cyborgs, and Women" Routledge 1991

    4 Braidotti, "Rosi. The Posthuman" Polity Press 2013

    5 Huang Chien-hung, "Re-TechArt: History of the Department of New Media" TNUA Press 2010

    6 Etatlab, "New Vision Liyuan—Hsiao Ho-wen, Automated Marionette Project"

    7 Hayles, N. Katherine, "How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics" University Of Chicago Press 1999

    8 Chou, Tungyen, "Emptied Memories" Very Mainstream Studio 2013

    9 Dixon, Steve, "Digital performance: A history of new media in theater, dance, performance art, and installation" MIT Press 2007

    10 "Challenge 2008: Six-year National Development Plan (2002-2007)"

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    학술지 이력

    학술지 이력
    연월일 이력구분 이력상세 등재구분
    2027 평가 재인증평가 신청대상 (재인증)
    2021-01-01 등재 등재학술지 유지 (재인증) KCI등재
    2018-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2015-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2013-01-22 학술지명변경 한글명 : 우리춤연구 -> 우리춤과 과학기술 KCI등재
    2011-01-01 등재 등재학술지 선정 (등재후보2차) KCI등재
    2010-06-11 학회명변경 한글명 : 한양우리춤연구소 -> 우리춤연구소
    영문명 : Research Institute of Korean Traditional Dance in HanYang Univ -> Research Institute of Korean Traditional Dance
    KCI등재후보
    2010-01-01 등재 등재후보 1차 PASS (등재후보1차) KCI등재후보
    2008-01-01 등재 등재후보학술지 선정 (신규평가) KCI등재후보
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    학술지 인용정보

    학술지 인용정보
    기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
    2016 0.33 0.33 0.31
    KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
    0.3 0.3 0.5 0.04
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