• Proceedings of the Korean Society of Organic Agriculture Conference
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• 2009.07a
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• pp.293-340
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• 2009

• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Journal of the Economic Geographical Society of Korea
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• v.12 no.4
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• pp.388-405
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• 2009

This paper examines the triple helix innovation system in the Oresund food cluster, considered as one of the most competitive food clusters in the globe. The result of the case study represents that the triple helix system of the Oresund food cluster is composed of three layers of triple helix spaces. Such three triple helix spaces play a crucial role in making the industry-university-government relationships interactive and dynamic. First, knowledge spaces in the Oresund food cluster are very strong and competitive in education and R&D capabilities in related to the food sector. 14 universities in the Oresund region are connected and coordinated by the integrated organization body, called the Oresund University. Second, the Oresund Food Network(OFN), as a central consensus space in the Oresund food cluster, functions as a pivotal organization that facilitates and coordinates cooperations between firms and universities. Third, most important innovation space in the triple helix system of Oresund food cluster can be science parks and business incubators such as Ideon Science Park, which contribute to linking, between research and commercialization, and between firms and universities in the region. In a nutshell, the Oresund food cluster has been evolved as an innovative regional cluster on the basis of well-established three-layered triple helix spaces of regional innovation system.