• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.399-406
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• 2023

Due to the increasing influence of the Korean Wave, traditional themes are emerging to the forefront of performance content development, emphasizing the necessity of applying the art of storytelling to the creative process. The purpose of this research is to examine the differentiated costume design of the Pansori ballet "Dokkaeba! Dokkaeba!," developed through the implementation of storytelling in its performance creation process. Choreographers, writers, and costume designer collaborated throughout the storytelling process from planning to content creation. This resulted in a clarified depiction of the Dokkaebi as divine beings with transcendental powers who are simultaneously friendly and familiar entities, often appearing in the form of humans and objects. Accordingly, the costume design based on this collaborative storytelling deliberately avoided the appearance of Dokkaebi reminiscent of 'Kwimyeonwa' or Japanese 'Oni', typically expressed with horns or decorations, and instead implemented novel design elements, such as fusion Hanbok with a variety of dimensionally aesthetic accessories, meaningful color contrast in modern clothing, textural elements indirectly expressing character and transmogrification, and daily clothing attire to illustrate the humanized Dokkaebi. Therefore, this study seeks to contribute to the production of new performance art showcasing the Dokkaebi by identifying the diversity of expression and direction within costume design.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.367-372
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• 2023

This study analyzed the use of scriptwriting and hologram technology for storytelling in the production of locally-centered cultural and artistic content. The musical <WolhwaJeon>, produced in the Gangneung area, was examined as a case study. The process of creating the script for the performance was used to establish the self-identity of the character "carp" and the stage visualization of the folktale "Yeonhwa." Furthermore, the use of hologram technology to actualize the inner expressions of the characters, deliver information, enhance spatiality, and visualize fantasy elements was examined. Through this approach, educational information about local folktales was provided to the local residents, and their pride in their region was heightened. This locally-centered content requires continuous development in a modern society that pursues cultural diversity, and future research is needed to produce and develop traditional and cultural content in other regions.

• Journal of the Korean Professional Engineers Association
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• v.30 no.3
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• pp.64-67
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• 1997

우리나라는 지금 경제의 국제화에 따라 국내산업의 공동화, 노동인구의 고령화 등 사회적 경제적으로 어려운 문제에 직면하고 있습니다. 21세기를 향해 밝은 전망을 개척하기 위해서는 국제 경쟁력 있는 고부가가치의 신산업을 창조하지 않으면 안되겠습니다. 연구개발을 통해서 찾아낸 독창적 성과를 현실사회로 유도하며 실용화하기 위해서는 기술력이 불가피한 것으로 사료됩니다. 이런 뜻에서 기술사의 역할이 더욱더 중요시 되며 근래 기술사에 대한 사회적 기대는 점차 더해가고 있는 실정입니다. 따라서 기술사는 자기연마의 노력으로 국내외 기술자의 최고 자격으로서의 그 지위를 확립해 나가야 할 것으로 사료됩니다. 한 편 국제화의 진전에 따라 앞으로 세계로 눈을 돌려 명실공히 이 나라를 대표하는 기술선구자로서 세계무대를 개척해 나가야 할 것입니다. 이를 위해서 기술사의 문제를 구체적으로 짚어 보고자 합니다.

• Journal of Digital Contents Society
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• v.19 no.8
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• pp.1565-1573
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• 2018

The recent breakthroughs of multimedia computing have expanded its scope of application to the fields not been touched before. The reproduction of late artists' performance, especially dancers', which had put on the back burner until now, also beginning to shed the light. This study showed how to apply it to the reproduction of these late performers. Through this work, not only did we reduce the working time by applying the software to the manual process which has been dominantly practiced for reproducing the existing stage, but also made it possible to be reused in the subsequent work.

• Information and Communications Magazine
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• v.32 no.5
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• pp.36-41
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• 2015

스마트 팩토리는 시시각각 변화하는 생산현장의 생산정보 4M1E(Man, Machine, Material, Method, Energy)생산 자원을 실시간으로 통합하여 생산 관리를 무대기시간, 무재고, 무고장, 무불량일 발생할 수 있는 핵심성과지표(KPI: Key Performance Indication)를 통하여 생산현장을 연속개선을 추진하는 것이 핵심이다. 본고에서는 스마트 제조업에 필요한 IT융합 국제표준화 동향으로 사이버 보안기술, Object Process Methodology기반 생산자원 통합기술, 실시간 이벤트기반 구조화 기술, 공통 생산정보화 플랫폼 서비스기술, 생산정보화 표준기능 및 국제표준동향과 한국형 중소제조업 스마트공장 적용 참조 모델에 대하여 알아본다.

• The Magazine of the IEIE
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• v.43 no.6
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• pp.31-37
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• 2016

스마트 팩토리는 시시각각 변화하는 생산현장의 생산정보 4M1E(Man, Machine, Material, Method, Energy)생산자원을 실시간으로 통합하여 생산 관리를 무대기시간, 무재고, 무고장, 무불량일 발생할 수 있는 핵심성과지표 (KPI: Key Performance Indication)를 통하여 생산현장을 연속개선을 추진하는 것이 핵심이다. 본고에서는 스마트 제조업에 필요한 IT융합 국제표준화 동향으로 사이버 보안기술, Object Process Methodology기반 생산자원 통합기술, 실시간 이벤트기반 구조화 기술, 공통 생산정보화 플랫폼 서비스기술, 생산정보화 표준기능 및 국제표준동향과 한국형 중소제조업 스마트공장 적용 참조 모델에 대하여 알아본다.

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.51-52
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• 2003

2000년이라는 유구한 우리의 복식문화는 서양복식의 출현으로 불과 100년 만에 정복당해 버리고 말았다. 그러나 다시 국제화 시대의 도래로 한국적이면서 전통적인 요소가 요구되고 있다. 이러한 시대적 흐름에 발맞추어 우리의 디자이너들도 코리아의 아름다움을 알리기 위해 세계시장으로 속속 뛰어들고 있다. 복식전반에서 “전통과 현대의 만남”은 국제무대에서도 주목받고 있으며 전통적 요소와 소재개발에 많은 관심을 기울이고 있어 개발과 연구 또한 시급하다. (중략)

• Venture DIGEST
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• s.58
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• pp.12-13
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• 2004

빛의 속도로 아이디어와 돈이 움직이는 오늘날의 시장은 국경의 구분이 없다. 이제 글로벌화는 생존에 관한 충분조건이 아니라 필수조건이다. 갈수록 치열해지는 경쟁에서 살아남기 위해서는 국내 시장에서 검증된 벤처 강자는 세계시장으로 나가야한다. 우리 벤처인들의 세계 진출에 도움이 되고자 역사상 넓은 세상을 하나로 만들기 위해 힘썼던 글로벌 리더를 인터뷰하여 글로벌 업로드에 대한 이야기를 들어본다. 다들 지구촌 곳곳에서 글로벌 CEO이자 리더십 소유자로 새롭게 재조명되며 생전보다 바쁜 일상을 보내는 분들이시다. 그런 와중에도 한국 벤처CEO들을 위해 기꺼이 인터뷰에 응해주신 세 분에게 감사를 드리며, 그만큼 이 인터뷰가 글로벌에 대한 웅대한 꿈을 되새겨 볼 수 있는 계기가 되길 바란다.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.103-138
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• 2018

This study examines the modern succession, transformation and significance of enjoyment methods of classical literature (art) with a focus on the characteristics of those methods that appeared when the performances of the traditional era began to be displayed on the stage of the theaters in modern Seoul. The clues to the reasons for this type of enjoyment can be found in newspapers, magazine articles, and advertisements from the early 20th century. The emergence of stage theaters at the beginning of the modern era caused a sweeping change in the performance environment, including the fact that it was possible for all kinds of people to enjoy art beyond the existing socioeconomic hierarchies or barriers of status, that the performers were given employment through the theater, and that the audience had the tendency of the general public of an unspecified number because the audience was able to see the performances only by paying the viewing fee. The way of enjoying traditional performances also changed based on these new adaptations: the performances were sequential, show-oriented, and re-contextualized as public performances. It is significant that in the traditional era, performers and audiences had been segregated according to their status and a strict hierarchy; now, such cultural norms were breaking down in favor of a kind of equality. In addition, it was possible for the audience to experience sensory enjoyment, and theater brought about a new kind of popular consumer enjoyment of an artistic product. Of course, though, it is possible to look back and find problems related to the contemporary context, but the traditional performances, which were the main performances for the lower class, took the first place on the modern theater stage, and as a result, no one can deny that it became possible to move forward in the first phase of an era of public performance.