• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Korean Association of Arts Management
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• no.53
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• pp.5-45
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• 2020

This study aims to deeply analyze the subjective attitude of jazz performance audiences in Korea using Q methodology. In order to establish a population for the research, we decided 'People's mind about jazz performances' as the main topic and finally selected a Q model consist of 38 statements after having a depth interview with corresponding experts. Additionally, from January to February 2019, we implemented a Q-sorting and individual interview to total of 27 people including people majored in music, jazz club members and other citizens. The result were the following. First of all, a musical-interest oriented type. People of this type understood watching jazz performance as a daily leisure activity and went to watch a show more than once a month on overage. Those people obtained information of performances and actors before attending a show using social network such as SNS and jazz clubs. They also had a big desire to have an emotional interaction with jazz musicians while having a fan signing event or performance. Secondly, a general-interest oriented type. This type of people had a tendency of considering watching a jazz performance as a especial experience and not a daily life event. Attending a jazz performance was a novel experience which could be done with their close friends in a special day. Thirdly, people with self-value oriented type. This people were majored in jazz and classic in their universities. As they had a concrete perspective, professional knowledge and experiences, they were more sensitive on the general quality of the performances such as show's sound, light, video, sound system of the theater, player's ability, level of facilities, accessibility, etc. rather than the reputation of an artist. This research did not only revealed jazz audience's subjective tendency using Q methodology but also demonstrated the types of jazz audiences and their characteristics. Therefore, this could be a meaningful study for suggesting a significant implication for the marketing mix of performance planning on each jazz audience type.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.270-282
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• 2016

A community center is situated near the residential areas and is the public facility that acts as the core of local cultural activities. A community center, as the general cultural activities increases, is transforming into a facility that promotes the community restoration and living convenience such as welfare, sports, art activities, and education etc. beyond location of simple leisurely activities. This study considers local residents' accessibility through the renovation of preexisting community center.

• Korean Association of Arts Management
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• no.56
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• pp.145-188
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• 2020

This study starts from an experience-oriented perspective that raises the need to examine the individual's cultural consumption experience with qualitative approach. In particular, this study aims to analyze in-depth the journey of the performance experience by connecting with offline-based social relationships as well as online-based informative and communicative behaviors. For this, in-depth interviews were conducted with 15 teams (30 people) by setting up two people as research units, and self-recorded data using the mobile application were collected. Results showed that social media and online communication play an important role before and after the performance in amplifying the performance experience and the consumer's taste developments. This study also found that relational aspects of the performance experience by identifying the significance of the partners and the existence of the cultural taste leader. For each result, there was a difference among audience proficiency: enthusiastic, interested, and indifferent audiences. Based on these results, we suggest that the performance experience should not be limited to the performance itself, but should be understood in a comprehensive manner before and after the performance, and that the consumption of the performance takes place in a social relationship, not in an individual's own experience only.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1567-1576
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• 2017

This study presented the direction of cultural welfare based on ICT. For this purpose, it examined the direction of government policies and the status of cultural welfare services and it analyzed art galleries and museums focusing on experiences of cultural welfare services in a home and abroad. As a result, the museum has many changes depending on the media environment, unlike art gallery. In the age of media 1.0, the audience has experienced in real museums. As time goes by, in the age of media 2.0, the customer has opportunity to experience in virtual museums. It seems that there are many differences factor of a media environment, target (exhibits), accessibility, consumption and information. Finally, this study suggested the environmental change factors of Korean ICT cultural welfare service through this. In the future, it will be necessary to continue research on the possibility of expanding cultural welfare services for cultural enjoyment to the underprivileged.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.58-65
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• 2021

Jewelry Object to adorn a body with has been a very important culture since the primitive age when history of human beings started. Ornaments for social status or wealth's symbolic icon otherwise for private embellishment have been developed with various properties such as decorative, monetary, scarce, historic ones. However, since the latter 20th century, when intellecture concept was more valuable than the tradition laying emphasis on preciousness, with counting of artistic activities and aesthetic values, they have had expressionistic tendency centered on artists. In this manner, modern ornaments have been developed as an artistic genre deviating from traditional way in which material or technology was emphasized. While this expressionistic tendency emphasized artistic value, galleries only for ornaments have been started since 1960s and especially from this period, a lot of experimental and revolutionary ornaments works deviating from traditional way have been exhibited. The appearance of galleries specialized in ornaments as described above had a great influence on the ornaments' development to an artistic genre. This study is the one in respect of two exhibition types through the combination of human body and clothes in displaying ornaments. The first one represents active displaying way for the communication with audience by introducing fashion show to galleries deviating from general exhibition way. The second one plans to run a project collaborating fashion brand for the communication between ornaments and clothes and represents displaying way in the shop of fashion brand for active exhibition publicity.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.53-62
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• 2019

In recent years, South Korean has made a globally acknowledged achievement in movie industry. In terms of Art, films produced in South Korea obtained lots of awards in international movie festivals; in the business field, Korean movies are swiftly occupying the Asian or even the world film market. Extraordinary films with good reputations and high box office records are frequently launched and induced to a trend, which then forms into a cultural phenomenon and attributes to an important, major force in the so-called "Hallyu" culture. This, in part, benefits from the massive support of Korean government's cultural policies, and is also a product of the high degree of cultural consciousness of Korean movie producers. The Korean cultures, customs, and the underlying cultural elements of the East, that are presented in these movies, satisfy the audience and appeal their fondness. The Princess and the Matchmaker is a South Korean period romantic comedy film directed by Hong Chang-pyo and starred Shim Eun-kyung and Lee Seung-gi. The movie was presented on Feb 28th, 2018. It tells a story of Seo Do-yoon, the most proficient saju (fortune-teller) expert of the Joseon Era who selected a husband for Princess Song-Hwa based on her "fortune eight letters" (specifically, the time, day, month and year of her and her husbands' birth, normally in eight letters), in a hope of alleviating the rage of people following years of drought, and thus to resolve a national crisis. This paper takes The Princess and the Matchmaker as an example, from the aspects of cultural state, system, behavior and mentality, to analyze the traditional customs such as "fortune eight letters", "marriage by match" and the cultural concepts behind these phenomena, in order to explore the ways and methods of traditional culture in the modern cultural and artistic form of film.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.635-641
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• 2024

Based on Merleau-Ponty and Lakoff's research on the inseparability of body and mind, this thesis seeks to explore the impact of experiences in multi-layered spaces based on media art on the understanding of human existence. The sensory experience provided by media art strengthens the viewer's physical presence and induces a new perception of reality by blurring the boundaries between reality and virtuality. Through this, it shows that it is possible to newly recognize and explore the deep relationship between human existence and the world. This paper analyzes how media art can be an important means of expanding existential experience through the connection between body and mind, and explains how the combination of art and technology contributes to ontological understanding.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.690-701
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• 2013

With the increasing adoption of social network services (SNS), the cultural and art industry is also embracing SNS as an important tool of marketing. Users can share various cultural experiences on SNS easily, and companies can analyze SNS to understand the users for effective marketing. Based on this background, this study analyzed users' behavior and attitude about movies according to SNS usage types. Users of SNS were surveyed and clustered into 'information seekers', 'fun seekers', and 'relationship seekers'. Next, the behavior of the users in each cluster was compared regarding information search about movies, preferred online advertisement channels, and post-watching behavior. The results showed that the SNS usage type has significant relationship with the behavior and attitude about movies. This suggests that movie industry can establish effective online marketing strategy by analyzing SNS usage of users.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.453-463
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• 2021

The purpose of this study is to establish the most severe impacts of Covid-19 in the field of the performing arts and to explore countermeasures taken both at home and abroad. This study has been conducted through literature surveys. The conclusion is as follows. First, since the outbreak of Covid-19, theater venues around the world have actively taken part in uploading recorded performances to streaming services. Secondly, these performance visualizings are generally considered as being complimentary goods rather than a substitute for live performance. Thirdly, although more audiences are tuning into watch on-line performances, consumption is concentrated on a few theaters which have a worldwide reputation and a broad range of content. Fourthly, to tackle the impact that Covid-19, the UK government announced a series of job protection schemes in the field of the Arts. In addition, Arts Council England prepared an emergency response package. In Korea, some countermeasures such as government support for artists and cultural establishments have also been implemented. Lastly, some suggestions for the sector. I conclude that there is an need for domestic companies to secure core contents of significant quality and to make strategic alliances with leading overseas performance companies so that they may cooperate together.