This study focuses on how to introduce wearable computers for extending the performers` expression, having its starting point in today`s rapid growth of digital technology which permeates even the level of performing arts and results in great changes in them. The key aesthetic concept in performing arts, `presence`, is realized by the existence of performers that is the key ingredient comprising theater arts. Also, it is understood that, among all the factors of presence, `liveness` outshines the other, and so the concept of liveness is reviewed with the researches by two distinguished scholars, namely Auslander and Dixon. Then the researcher examines how performers can reinforce the liveness. Additionally, based on the concept of `Remediation`, a model aesthetic to explain the new media phenomena, this study investigates the effects and limits of performing arts remediated by digital technoogy, making it clear that wearable computer is the technology that can create a whole new media phenomenon with the extended from of expression used by performers.
Based on these points, this study clarifies the concepts, histories, and characteristics of wearable computer technology. We can see that wearable computers intervene in the way we move and communicate with each other and extend and strengthen our capability, studying the actual performances that utilized the wearable computer technology on the stage.
Plus, with the interaction design methodology applied to designing actual stage costumes, the researcher suggest the design process for wearable computers. This process is clarified by examining the production process of costumes using wearable computer technology in the work 『The Pieces of Me』. Through this, the guidelines are provided to help artists better apprehend the introduction of wearable computer technology. So this study concludes that, as performers` physical bodies engage with wearable computers, the intended expressions are delivered more vividly