• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.567-573
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• 2020

The COVID-19 outbreak had a substantial impact on our lives. Social distancing policies are especially causing severe concern for the cultural and creative industries across the globe. Most performing arts festivals and other venues are being canceled due to COVID-19 fears and social distancing measures. Instead, many individual artists and organizations attempt to deliver their arts online using ICT and live streaming. The actions of the Government in responding to the COVID-19 crisis also provide financial support toward freelance artists and creators, and company. Finally, future directions and areas that need further support are described.

• Journal of the Korea Construction Safety Engineering Association
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• s.45
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• pp.48-53
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• 2008

대통령자문 건설기술 건축문화선진화위원회가 이례적으로 건축물이 아닌 작품을 선정했다. 젊은 아티스트들의 작품을 전시. 판매하고 다양한 공연도 펼치는 홍대 앞의 명물 '프리마켓(www.freemarket.or.kr)'이 바로 그것이다. 일상 예술창작센터가 운영하는 프리마켓은 생활창작 아티스트 100여명이 만든 예술성을 지난 독창적인 생활용품과 장신구 미술작품 등을 전시 판매하는 곳으로 홍대 앞 어린이 놀이터 '홍익어린이공원'내에 매주 토요일 오후에 운영도는 거리 마켓이다. 유럽등지에 성행하는 Flea market(중고물품이나 생활용품을 교환 매매하는곳)과는 완전히 다른 개념인 free market 즉, 창작품과 창작행위가 펼쳐지는 예술시장인 것이다. 따라서 이곳을 찾은 외국인들은 그들 나라에서 보아왔던 Flea market로 착각하는 일도 흔히 발행하기도 하지만 어쨌든, 도심 속 외진 곳에 버려질 뻔했던 공간이 새롭게 태어나고 있는 점에서 매우 관심을 갖게 하는 곳이다.

• Proceedings of the Korean Information Science Society Conference
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• 2003.04c
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• pp.519-521
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• 2003

개체명 인식은 효과적인 정보추출 시스템을 구축하기 위해 반드시 선행되어야 하는 작업이다. 지금까지의 개체명 인식에 관한 연구는 인명이나 조직, 장소와 같은 일반적인 개체명 인식 작업이 대부분이었다. 그러나, 효과적인 정보추출을 위해서는 이런 일반적인 개체명들을 더욱 세분화할 필요가 있다. 본 논문에서는 SVM기반 기계학습법과 기구축된 사전과의 편집거리 비교법을 이용하여 개체명을 세분화하는 방법을 제시한다. 실험은 개체명과 세분화된 범주가 부착된 공연 관련 문서 100개 중 80개는 학습집합, 20개는 실험집합으로 사용하였고 성능 평가 척도는 정확도(accuracy)를 이용해 개별적으로 평가하였다. 실험 결과 기계학습법과 사전을 이용한 방법을 결합한 모델이 가장 좋은 성능(정확도 72.91%)을 보였다.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.923-932
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• 2017

Based on the metadata of BIGkids, a news big data system, this study analyzed the trends of news coverage by the major fields and topics related to Deoksugung Doldam-gil in mass media. In addition, we tried to interpret the space discourse of Deoksugung Doldam-gil which has been formed in contemporary period through the analysis of data related to BIGKinds, the contents of related reports and context. As a result of the analysis, the coverage of Deoksugung Doldam-gil was mostly reported in the field of 'Culture', and the news related to 'Cooking_Travel', 'Exhibition_Performance' and 'Broadcasting Entertainment.' Deoksugung Doldam-gil was categorized as the pedestrian freindly street, the cultural and artistic street, and the historical street, and interpreted the spatial discourse with related news contents.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.98-110
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• 2009

Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.578-584
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• 2016

The Purpose of this study is to suggest various kinds of applicability by analyse a case of application, Gaga movement Language of Ohad Naharin. There are experiences based on participation on Gaga Workshop in Tel Aviv, 2015, Gaga People Website that Gaga Movement Ltd. have for running programs, Dance Journals and Theses for materials. As a result, Gaga was applied to performing arts, education and Tourism. It evolved movement in dance works and narrowed the distances between dancers and audiences in performing arts. Gaga/Dancers was for dance education contents for professional dancers. Gaga/people was for Dance education contents for public. Last, Gaga was applicable to tourism as it combined with regional nature of desert, in Gaga in Desert. This achievement is originated by the way of Gaga Movement Ltd. business Most of all, it was the attitude of returning their achievement of dance in art. It is considered that various kinds of application on dance contents enriches culture in society.

• (The) Research of the performance art and culture
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• no.33
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• pp.273-301
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• 2016

In this paper, it is entraining surface and the historical flow of Japanese flying acrobatic, look and lore situation up to now, as compared to this, restore our Sotte riding, trying to provide a clue of hatching in order to reproduce. In particular, the tricks to raise the rod into the body is sublimated to the big festivals of the region, focused on Akita Kanto festival was devised by one of Japan's northeastern 3 major festivals. As a typical traditional performance festival with a history of more than 200 years, the same manner as was sublimated as a professional performing arts and folk arts, actively protect the traditional performing arts, and lore, this representative of the regional festival It has a great meaning in that it was successful. That the order to act strongly cooperation of the public and private sectors to be highlighted on the whole surface of the strong act is acrobatic nature to the main content of the festival, of course the identity recovery of the region, also serves as a proud representative of the region it is also very significant. Want is greater place to suggest to researchers who want to take over the pulse of the tradition correctly restore the future Sotte ride.

• Journal of Korea Game Society
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• v.12 no.1
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• pp.57-65
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• 2012

Interactive games allow users to obtain embodied experience using the bodies as controllers. The same is true in interactive media arts where users engage in active participation. In contrast to video games, physical body feedback is desired and such practice can be found in robotic arts. I suggest that interactive media arts and interactive games should share common foundations. In this context, I introduce and explain an interactive robotic art work implemented. This work is a musical instrument that employs a robot which travels sitting on two strings in response to audience positions. In results, the robot modulates the vibrations of the strings by causing the effective lengths of the strings changed. The robot uses an economic multi-cell proximity sensor in order to track the audience. In the interaction, phenomenological tension could take place in the performative narrative space. In this paper, I discuss this interactive robotic work in the context of interactive games with a few examples.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.297-304
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• 2017

In this study, we have investigated the relationship between festivals evaluation and the theme of festivals programs by using 'AHP survey of experts' on two festivals in each highest and lowest evaluated festivals. As a result, the musical performance of the opening ceremony of Hwajun Festival, the experimental village program of hansung bakjae festival, the street parade of Itaewon and the prehistoric street parade of Gandong cultural festival were found to have the highest relations with the themes. The result reveals the fact that the representative program of festival has been selected, program name was closely related to festival theme, matrix type program and experiential type program where leads the direct participation of visitors were prerequisite, and the festivals with highly related to the theme were also highly evaluated. Therefore, in order for the festival to receive a good evaluation, the high theme-related programs should be focused as main programs of festivals, and the low theme-related programs should pay more attention on their themes for promoting and branding diverse, thematic festivals.

• (The) Research of the performance art and culture
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• no.38
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• pp.33-69
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• 2019

In this article, I would like to pay attention to the changesofShaman's play as a part of examining the process of changeofDonghaeanbyeolsingut. Currently, Shaman's play can be seeninBaekseok2-ri, Byeonggok-myeon, Yeongdeok-gun, Gugye-ri, Namjeong-myeon and Yeongdeok-gun. Among them, ShamanRitual of Baekseok2-ri is short in cycle and easy to see change. InShaman Ritual of Baekseok2-ri, various Shaman's plays suchasJungdodukjabi(중도둑잡이), Wonnimnori(원님놀이), Talgut(탈굿), Mallori(말놀이), Hotalgut(호탈굿) and Georigut(거리굿) areperformed. Shaman's play carried out in Donghaeanbyeolsingut changesevery time it is carried out. Depending on the degree of change, itcan be classified into passive change and positive change. Whilepassive changes are improvisational, aggressive changes areintentional. Shaman's plays are jungdodukjabi, Mallori, Hotalgut, which are the improvisational changes, and the intentional changesare Wonnimnori, Talgut, Georigut. The biggest change in Shaman's play is the disappearance of the Shaman Ritual. The Shaman Ritual is suspended due to lackofpeople, financial difficulties, religious conflicts or rational accidents. Secondly, the period of separation is shortened or shortened. Thiscauses Shaman's play to be dropped or shrunk to change. InShaman Ritual, changes in Shaman's play are variable andcreative. The change due to the intervention of the spectatorsismainly improvisation. On the other hand, the change bythepreliminary plan of the acquaintance is intentional, and the changeis large. The changing factors of Shaman's play are influenced bythedemands of the times and the recognition of the tradition group. Changes in the traditional environment can be attributed to lackofhuman resources, individualism, changes in the workingenvironment and time constraints. At the same time, givingautonomy to traffickers is a major reason for Shaman's playtochange.