• Trans-
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• v.13
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• pp.35-58
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• 2022

This study predicts the paradigm shift that the development of artificial intelligence technology will bring to the production of music content, and suggests that works created through collaboration between artificial intelligence and humans can have artistic value as finished products. Anyone can easily produce music content using artificial intelligence composition programs, and it has become an opportunity to inspire artists with various attempts and creative ideas. Although artificial intelligence technology provides convenience in human life and benefits a lot in the efficient aspect of work, it is difficult to escape the perception of data-based pattern music in the art field so far. Pattern music with many quantitative elements is not recognized as a complete creation due to the absence of abstract symbolism or meaning pursued by art. However, it predicts that if qualitative elements such as emotions and creativity are given to artificial intelligence music through human collaboration, it can be recognized as a complete work of art. The development of artificial intelligence technology increases access to culture and art from the public, and it can be expected that anyone can enjoy it as well as aesthetic experiences. In addition, various contents can be produced by improving individual digital literacy, and it is an opportunity to share and communicate with others. As such, artificial intelligence technology serves as a medium connecting the public with culture and art, and is narrowing the gap between humans and technology through art activities. Along with this cultural phenomenon, we predict the possibility of research on the production of artificial intelligence music contents with artistic value and the development of various convergence and complex art contents using artificial intelligence technology in the future.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.11
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• pp.5091-5097
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• 2012

The purpose of this study is to figure out the effects of nature-friendly environmental education program on environmental pollution prevention and practice attitude of children. To achieve this, a survey was experimentally carried out on total 43 five-year old class children in Chungcheong Province-based preschools. They were classified into the experimental group made up of 12 male children and 10 female children, and the control group made up of 12 male children and 9 female children. The results of this study are as follows. First, there was no statistically significant difference in environmental pollution prevention and practice attitude between the control group. And there was an increase of general environmental pollution prevention and practice attitude in the experimental group, showing a statistically significant difference. Second, there was a decrease and an increase of the 'concern about nature', 'aesthetical experience' and 'emotional stability' by each sub-factor of environmental pollution prevention and practice attitude in the control group and the experimental group, respectively, showing a significant effect. And there was an increase of 'activities to prevent environmental pollution' and 'practice attitude' in both control group and the experimental group, showing a significant effect. As stated above, the nature-friendly environmental education program for children had positive effects on the environmental pollution prevention and practical attitude improvement. Consequently, it is proven that this program is useful for improving the environmental pollution prevention and practice attitude of children through education for repetitive life attitude of natural preciousness from early childhood.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.491-501
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• 2016

As the population of silver generation is increased, there are emerged the aging society and the silver industry as social issues. Previous studies in the fields of library & information science, education, the industrial art science suggested the need for fairy tale books for the silver generation, and from the design perspective, the characteristics of fairy tale books for the silver generation were analyzed. A fairy tale book is not only a medium delivering some information, but also a platform that a writer provides services to readers. Therefore, the purpose of this study aimed to suggest the importance of sensual experience on the design of fairy book for the silver generation, and to analyze such kind of fairy book's format, grid, typography, type, edition structure, image, layout, cover, paper, printing and production on the basis of five senses. According to the findings of this study, it was found that fairy tale books for the silver generation had different characteristics(type, picture, color, paper, etc.) from those for children, and it would be desirable to make designs for fairy tale books for the silver generation under the silver generation's esthetics standards with considering the silver generation's physiological, psychological factors. It is expected that this study would become a good foundation for more intensive researches for fairy tale books for the silver generation in future and would also be theoretically helpful in developing fairy tale books for the silver generation in future.

• Cartoon and Animation Studies
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• s.45
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• pp.235-258
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• 2016

As the first class Teaching Artists system is about to be brought to effect, the ability required for Teaching Artists to design educational contents, develop and manage education programs is not much different from that of a museum Educator. This system is necessary for resolving problems in existing Arts and Culture Education, such as overlapping programs and adjusting difficulty levels by age to meet the demand of educatee. It also deals with drawbacks in production-oriented curriculum originating from the preference in some subject. In addition, as progress in science and technology makes rapid changes in digital media and its subculture, increasing need for novel and interdisciplinary curriculum in the field of Arts and Culture Education puts further emphasis on the importance of this system. In this study, we focus on clarifying the significance of Educator as a professional and proposing curriculum for the system, trying to avoid restricting our discussion to current Arts Instructor Supporting Project which are merely aimed at supporting children and adolescents to grow up to enjoy culture and arts. Capacity for designing curriculum for culture and arts, the kernel of qualification for the first class Teaching Artists, requires a variety of comprehensive expertise and qualification such as doing preliminary research on contents related to animation, curating, determining potential of educational contents, organizing educational contents for appropriate educatee, understanding esthetic property and its role in education, and appreciating and enjoying cultural contents. Therefore, Teaching Artists plays roles not only in developing and running educational programs but also in supporting and cooperating with culture and arts institutions, designing and managing creative programs, combining and communicating with different social groups, and emphasizing mutual interchange in culture.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.89-99
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• 2021

A brand community refers to a group of people who have a passion and loyalty for the brand, and is attracting attention as an effective marketing strategy to increase brand equity because it actively tends to support and promote the brand without expecting compensation. The objective of this study is to identify factors that are needed for sustainable brand community management. Existing studies on brand community management have mainly been conducted by quantitative methods measuring consumer satisfaction and dissatisfaction towards brand community activities, however, this study applied qualitative methods using means-end chains and laddering approaches in order to deeply identify a consumer's desired value on brand community activities. An in-depth interview of 41 members of BTS ARMY, a representative example of brand community, has been conducted and analyzed. The result of this study is as follows. In order to encourage active brand community activities, it is important to provide brand community members with a variety of high-quality brand-related content for a unique aesthetic experience, and a forum where all members can interact and exchange information and ideas to enhance brand value and experience. Finally, to nurture a strong brand community as a partner to co-create brand equity, rather than just a fan community, it is needed to build an environment that fosters opportunities for brand community members to increase self-respect and fulfillment through their brand community activities.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.5
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• pp.74-86
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• 2015

The purpose of this study was to deduce the landscape evaluation indices that can be applied from the preparation for the registration of major national farm/fishery heritages to post-management. For this purpose, the Delphi survey was performed on experts. From August to November in 2014, the primary open survey, secondary open survey, and tertiary closed survey were performed to gather opinions from 28 experts, 25 experts, and 29 experts, respectively. As a result, the landscape evaluation indices for farm/fishery heritage consisted of five areas of evaluation, ten items of evaluation, and 40 indices of evaluation. The areas of evaluation were rurality, authenticity, aesthetics, tourism potentials, and locality. Rurality was classified into rurality of farm/fishery towns and nostalgia. Authenticity was classified into objective authenticity and existential authenticity. Aesthetics was classified into attractiveness and harmony. Tourism potentials were classified into value of resources and value of usability. Locality was divided into physical originality and cultural identity. The study made the following findings: first, the general grounds of farm/fishery landscape evaluation cannot be applied when evaluating the quality of landscapes of farm/fishery heritage, as their value as a cultural heritage should be considered. Second, the new indices valued emotional factors in addition to the physical factors considered by the existing farm/fishery landscapes. The new indices involved a more expanded concept of landscapes as it also considers everyday or temporary activities, including the farm/fishery activities of local people or participation in festivals and experience programs. Third, farm/fishery heritage focuses on the lives of local people, as it involves both the synchronic and the diachronic perspectives to see what is currently visible and what is no longer visible. This brings into consideration not only the farms and the natural environments but also their relationships with the villages, especially the residential areas. Finally, the indices reflected both the farm/fishery heritage's value as cultural heritage and its value for tourism. They derived temporary and dynamic landscapes, including the trading activities of local specialty markets in relation to the production landscapes. However, further studies should be conducted as this study could not rate the relative importance of indices or compare the total scores of landscapes without the weight of each item.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.102-112
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• 2010

By understanding physiological characters of plants and the environment, plant design should decide the relationship with other plants from the designer's curiosity of the plant's color, texture, form and other aspects. There are a traditional tendency that many designers put the plant's color ahead of other aspects. This study explores 4 gardens of Gertrude Jekyll's Munstead Wood, Vita Sackvill-West's Sissinghurst, Christopher Lloyd's Grest Dixter and Lawrence Johnston's Hidcote Manner. The flower border of Munstead is started with light grey and blue at the edge and it gets stronger colors like red and orange as the line comes to the middle. It is noticeable that white an blue colors were used unlike before. Sissinghurst made use of purple color which was very seldom used before and Dixter added orange to magenta color that was already there, giving a strong visual effect and through juxtaposition it could realize the wanted effect. A strong red border line was created in Hidcote Manner. Above mentioned designers arranged various colors so that visitors can experience different spacial senses according to observer's direction. In the cognitive space the main color and the secondary color arranged leading to the fact that the observer recognizes it as a whole. In plant design time means seasonal performance which influences the main color arrangement like gradation or contrast. Moreover, space determines the color's zone when it comes to plant design.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.39-51
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• 2011

This study is explored the relationship of cultural history between the culture of mental stroll about nature and the traditional landscape architecture spaces, which showed various aspects of developments, based on the records as to landscape architecture spaces. The philosophical view on nature was turned into the esthetic view with the mellow ripeness of multifarious cultures in Choseon period, since the life of literati had to be a comprise between the Confucius' life and the Taoist life. Around the seventeenth century, as the culture of enjoying a secluded life in city had been descended, the aspiration to appreciate nature in daily life with the changed view on nature. Those desires made the Wa-yu culture, which has a meaning of mental stroll about nature, and drew the attention and various kinds of the Wa-yu culture had bloomed. In the field of Korean literature, the record of strolling in nature had flourished, while the realistic landscape painting had emerged in the field of art. In the field of landscape architecture, the building of places where the vivid experience of nature was realized in the aspect of impressions was performed to express their utopia. Indeed, the space of traditional landscape architecture in the reality meant more than the actual nature.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.75-83
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• 2010

College campus landscape plans once focused mainly on campus functionality and aesthetically pleasing buildings. Yet now, after the rise of greater emphasis on afforestation and eco-friendly planning, building spaces for the local culture and community has become the core of the plan. This study analyzed the design strategies and details of the landscape plan that was selected through the contest to select a design plan for the cultural park at Sunchon National University. The key considerations for the landscape Design for the cultural space at Sunchon National University areas follows. First, the design plan sought ways to reach out to the local community, going one step beyond just opening up campus facilities. This means more than just the opening of physical facilities and environments. It was designed to serve as a base to organize diversified programs by generations and groups with an aim to share the history and culture of the college, the local community and the region. Second, shapes and colors were designed to establish a unified image between buildings and outdoor facilities. "Three Books" was selected as the key motif as books were believed to be the most representative symbol of colleges while 6 straight lines, hexagons and circles inspired by the shape of three books were used in the design. In terms of colors, reddish-brown was used for buildings to enhance visibility along with harmony and esthetic appreciation. For facilities, black and blue were used as dominant colors and white and yellow as point colors to promote the image of Sunchon City. Third, with an aim to overcome the limitation of the overall college campus as a closed space, it was designed to be a barrier-free space, remaining open to everyone and encouraging visits and experiences for active communication with the local community.