지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2022.11
- 수록면
- 463 - 473 (11page)
- DOI
- 10.34284/KJGD.2022.11.30.4.463
이용수
이 논문의 연구 히스토리 (2)
- 이 논문의 후속연구가 궁금하신가요?
- 연관 학술논문 또는 학술발표를 통해 보다 발전된 연구결과를 확인하실 수 있습니다.
- 이 논문의 연구 히스토리 확인하기
초록· 키워드
오류제보하기
Dance is the most primitive culture in which the human body and consciousness are totally implemented. The purpose of this study was to phenomenologically investigate the essential characteristics and structure of the “immersive experience,” which is the experience of a dancer performing a dance. The research questions were set as follows. First, what is the experiential definition of immersiveness displayed in a dance performance? Second, what are the elements that make up the essence of the immersive experience of performing a dance? Two research issues related to immersiveness in dance were discussed in comparison to the nine components of the immersive experience model presented by Csikszentmihalyi (1975).
The immersive experience of the nine dancers selected as study participants was classified as meaning through the “method of experiential depiction and analysis” that is the basis of phenomenology. Based on the analyzed results and interpretations, the following points were clarified in the conclusions of the study.
The element of the experiential definition of dancer immersiveness has the following two characteristics. 1) Experience as a continuous experience, 2) Immersive experience of experiential spatiality. The experience that the dancer is experiencing at runtime as a component of the essence of the dancer"s immersion can be clarified by semantic classification. Based on the immersive experience description of the study participants, the immersive experience presented by Csikszentmihalyi was classified into nine model semantic categories. 1) Harmony of tasks and technology, 2) Clear goals, 3) Matching actions and perceptions, 4) Immediate feedback, 5) Control, 6) Loss of self-consciousness, 7) Doing tasks Focus on tasks, 8) Distortion of the concept of time, 9) Self-purpose. The essence of the dance experience is the experience phenomenon of the attendant"s body movements in the dimensions of space and time and the subjective flow of time felt by the research participants. From these points of view, the immersive experience reproduces the following three types of existential experiences, and can be characterized by the method of the recognition system. 1) The spatiality of the exercise, 2) The temporality of the exercise, 3) The physicality of the exercise.
The immersive experience of the nine dancers selected as study participants was classified as meaning through the “method of experiential depiction and analysis” that is the basis of phenomenology. Based on the analyzed results and interpretations, the following points were clarified in the conclusions of the study.
The element of the experiential definition of dancer immersiveness has the following two characteristics. 1) Experience as a continuous experience, 2) Immersive experience of experiential spatiality. The experience that the dancer is experiencing at runtime as a component of the essence of the dancer"s immersion can be clarified by semantic classification. Based on the immersive experience description of the study participants, the immersive experience presented by Csikszentmihalyi was classified into nine model semantic categories. 1) Harmony of tasks and technology, 2) Clear goals, 3) Matching actions and perceptions, 4) Immediate feedback, 5) Control, 6) Loss of self-consciousness, 7) Doing tasks Focus on tasks, 8) Distortion of the concept of time, 9) Self-purpose. The essence of the dance experience is the experience phenomenon of the attendant"s body movements in the dimensions of space and time and the subjective flow of time felt by the research participants. From these points of view, the immersive experience reproduces the following three types of existential experiences, and can be characterized by the method of the recognition system. 1) The spatiality of the exercise, 2) The temporality of the exercise, 3) The physicality of the exercise.
목차
Abstract
Ⅰ. 서론
Ⅱ. 연구방법
Ⅲ. 연구결과
Ⅳ. 논의
Ⅴ. 결론
참고문헌
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Dancer
한국디자인학회 국제초대전도록
2022 .11
-
A Dancer
International Invitation Exhibition of Color Works
2020 .12
-
Dancer
한국기초조형학회 작품집
2023 .07
-
고령무용수 몸의 위계와 전복
한국무용교육학회지
2023 .03
-
현대무용수의 해외 진출 활성화를 위한 환경 조성에 관한 연구
대한무용학회논문집
2019 .01
-
Various Experiences
한국기초조형학회 작품집
2023 .07
-
XR 기술 기반 체험 콘텐츠의 유형 및 특성 연구 - 국립박물관의 대표 사례를 중심으로 -
한국공간디자인학회 논문집
2024 .06
-
상해를 경험한 무용수의 재활 성공사례
한국무용학회지
2020 .01
-
출산 후 직업무용수가 느끼는 ‘사회적 몸’과 ‘정체성’에 관한 내러티브 탐구
대한무용학회논문집
2021 .08
-
무용공연의 직업적 전문성과 노동성 연구
대한무용학회논문집
2021 .08
-
무용수의 통합적 지각과 창의성 뇌 발달의 잠재성 고찰
한국무용교육학회지
2015 .01
-
몰입형 디지털 미디어아트 전시에서의 시네필적 경험 연구
한국공간디자인학회 논문집
2024 .02
-
무용전공에 따른 남자무용수의 하지 가동범위, 기능적 움직임 및 근력 비교
한국체육과학회지
2020 .06
-
체화된 인지를 통한 무용수 몸지식 담론
한국무용교육학회지
2018 .01
-
무용수의 오토포이에시스적 몸인지
한국무용교육학회지
2023 .03
-
무용가의 아내로 살아가기
한국체육과학회지
2015 .02
-
공간 확장이 적용된 몰입형 미디어아트 공간에서의 사용자 경험(UX) 디자인 개선 연구
한국실내디자인학회 논문집
2021 .08
-
무용 공간의 초 커뮤니케이션 기능 고찰
한국무용교육학회지
2015 .01
-
학생 스트릿 댄서들의 정체성 형성과정 분석
한국여성체육학회지
2018 .09
-
몰입형 환경에서의 사용자 디자인 과정에 관한 연구
한국실내디자인학회 논문집
2017 .04
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2023-692-000157528