• Journal of Christian Education in Korea
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• v.63
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• pp.13-37
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• 2020

The World Health Organisation(WHO), paying attention to the spread and fatality of the coronavirus(COVID-19), which first occurred in Wuhan, China, declared a global emergency. Although many countries implement strict measures to slow down the spread, WHO officially declared a pandemic. COVID-19 has sparked fears of an impending economic crisis and recession. Due to the economic crisis caused by social distancing, self-isolation and travel restrictions, the collapse of the world economic system centered on free trade and the decline of globalization are mentioned. Political leadership that has not responded properly to the pandemic is challenged, and nearly all of society is rapidly changing to a non-contact and immobile culture. COVID-19 has seriously affected all levels of the education system, from preschool to tertiary education. The so-called old concept of deschooling is realizing in the field of education through digital media paradoxically. Church education is facing a serious crisis as well. Churches are seeking now a new normal that includes theological reflection on the pandemic, online worship, education, and non-face-to-face ministry to overcome the worst unexpected crisis. In the post-corona era, church education must actively seek alternatives in response to rapidly changing surrounding conditions and reconstruct educational philosophy(theology) that focuses on Christian values. In addition, it is necessary to start operating a mobile(or online) church school that combines offline and online. It is necessary to introduce 'Blended Learning' method that combines non-face-to-face and face-to-face learning, and by combining church school and homeschooling, churches and families need to share the responsibility of education in faith.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.155-160
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• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.91-106
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• 2021

The purpose of this study is to define the process of leading to self-realization and social solidarity through the process of contents planning, production, and distribution as Contents Activism, and to categorize specific execution steps. Based on this, we try to analyze concrete cases to find out the social meaning and effect of the practice of Contents Activism. As for the research method, after examining the differences between traditional activism and Contents Activism through a review of previous studies, the implementation process of Contents Activism was categorized into 7 steps. By applying this model, this study analyzed two cases of Contents Activism. The first case is the 100 laps challenge in the backyard planned by an elderly man ahead of his 100th birthday in early 2020, when the fear of COVID-19 spread. Sir Tom Moore, who lives in the UK, challenged to walk 100 laps in the backyard to help medical staff from the National Health Service as COVID-19 infections and deaths increased due to a lack of protective equipment. His challenge, which is difficult to walk without assistive devices due to cancer surgery and fall aftereffects, drew sympathy and participation from many people, leading to global solidarity. The second case analyzes the case of 'The Unfreedom of Expression, Afterwards' by Kim Seo-kyung and Kim Woon-seong, who were invited to the 2019 Aichi Triennale special exhibition in Japan. The 'Unfreedom of Expression, After' exhibition was a project to display the Statue of Peace and the lives of comfort women in the Japanese military, but it was withdrawn after three days of war due to threats and attacks from the far-right forces. Overseas artists who heard this news resisted the Triennale's decision, took and shared photos in the same pose as the Statue of Peace on social media such as Twitter and Instagram, empathizing with the historical significance of the Statue of Peace. Activism, which began with artists, has expanded through social media to the homes, workplaces, and streets of ordinary citizens living in various regions. The two cases can be said to be Contents Activism that led to social practice while solidifying and communicating with someone through contents.