• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.184-193
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• 2021

Interactive documentary refers to a new style of documentary that is created and accepted through active interaction. It is attracting attention as a platform that forms a public sphere and mediates audiences to participate in social change. However, the possibilities was not systematically explored, and there was insufficient consideration on how to realize them. In this paper, discussions on the political aesthetics of Walter Benjamin are examined, and the media characteristics of interactive documentary are analyzed through text mining. Then, by connecting the two to each other, we draw a map of the political and aesthetic possibilities, and based on the map, we analyze the actual works. This study has the value of establishing a theoretical framework for the possibilities of interactive documentaries. In the follow-up study, we will consider the practical strategy of interactive documentary as a transmedia activism and develop a practical analysis and planning methodology.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.117-128
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• 2013

This study aims to examine various discourses of the urban landscape discussed in the fields of new cultural geography, spatial political economy, and landscape architecture in order to propose a theoretical framework for the interpretation of a contemporary urban landscape. The notion of landscape is a modern idea that separates humans, especially the bourgeois subject, from nature, and then achieves the visual possession of nature. New cultural geographers have studied the political aspects of landscape. According to them, landscape as materialized discourse is "a way of seeing" which includes the vision of the upper class, the imperialistic view, and the masculine and voyeuristic gaze. In addition, spatial political economists have paid attention to the economic aspects of landscape. They have emphasized that the material production of landscape is indispensable in the production of surplus values in the capitalistic system. Thus, we insist focusing dialectically on both the materiality and ideology of landscape.

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.100-101
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• 2003

복식이란 인간의 내면적 욕구를 외적인 미로 표현하는 방법으로써 인간이 노출된 시대적 상황에 대한 반응 수단이자 한 시대 예술의 구성인자로 지각되며 경험되는 매체의 하나라고 할 수 있다. 그러므로 의복이란 회화, 미술, 공예 등의 조형예술과 사회적, 정치적, 경제적, 문화적 배경아래에서 탄생되며 상호 관련된다고 설명할 수 있다. 본 연구의 목적은20세기 대표적인 화가 피카소의 작품을 CAD시스템을 활용한 후 현대의상에 접목시켜, 개성 있는 디자인 창출의 모티브로서의 가능성을 제시함에 목적이 있다.(중략)

• Review of Culture and Economy
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• v.21 no.1
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• pp.63-83
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• 2018

In the US, there are no governing bodies within the federal executive departments dedicated to the arts and cultural affairs. Direct government subsidies for the arts are relatively small compared to other countries with a comparable economy and standard of living. Nevertheless, the US produces artworks, artists, and arts groups, leading the world's arts and culture. Incorporating the concepts of network governance and shared governance, this paper examines the dynamic roles and interrelationships among various for-profit/nonprofit arts organizations, foundations, councils, service organizations, arts advocacy groups, and professional/amateur associations from the federal to local levels that compose the ecology of American arts and culture. Through our evaluation, we conclude that the local/state/federal arts agencies and arts organizations at various levels influence each other via the principle of subsidiarity and isomorphism, creating a unique cultural policy and arts-supporting system that correspond to the political and social structure and environment of the United States.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.143-148
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• 2022

The subject of this paper is the practical examples of technoculture that critically thinks network technology, a strong material foundation in the era of data capitalism in the 21st century, and appropriates its socio-cultural metaphor as an artistic potential. In order to analyze its alternatives and the meaning of cultural politics, this paper examines the properties and influence of data capitalism after the 2008 global financial crisis, and the cultural and artistic context formed by its reaction. The first case considered in this paper, Furtherfield's workshop, provided a useful example of how citizens can participate in social change through learning and education in which art and technology are interrelated. The second case, Greek hackerspace HSGR, developed network technology as a tool to overcome the crisis by proposing a new progressive cultural commons due to Greece's financial crisis caused by the global financial crisis and a decrease in the state's creative support. The third case, Paolo Cirio's project, promoted a critical citizenship towards the state and community systems as dominant types of social governance. These technoculture cases can be evaluated as efforts to combine and rediscover progressive political ideology and its artistic realization tradition in the context of cultural politics, paying attention to the possibility of signifying practices of network technology that dominates the contemporary economic system.

• Trans-
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• v.16
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• pp.33-68
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• 2024

In a rapidly growing digital economic environment, NFT has emerged as a hot topic in the art field. However, in China, NFT art is developing slowly due to constraints related to China's political economy and socio-cultural situation. Due to strict management and control, the circulation of cryptocurrency is limited, and the level of public awareness and acceptance of NFT art and market maturity are still low. Despite these limitations, this paper predicts that Chinese art creators and market participants can build an online personal art IP model that suits the characteristics of the Chinese market and explores the current status and possibilities.

• Archives of design research
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• v.12 no.3
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• pp.83-91
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• 1999

In the late 19th century, the desire for pursuing new arts and aesthetics was evolveld and developed in various aspects in europe, and it appealed the characteristics of renovating society such as the arts and crafts movement in England. Vienna was developed in the center of the European empire under these environments, and provided the background as the main center for young artists. Vienna Art Nouveau blossomed under the mind of art pioneers that is "all arts are equal" and the Viennese political, economic, and cultural environments. They tried to show people new aesthetics under the mass-production by accepting machine. The goal of this study is to search the Secessions's role and the environment that make the base of modern aesthetics and differentiate from other Art Nouveau movements in Europe and to verify the meaning and value of that.

• Korean Association of Arts Management
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• no.54
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• pp.5-31
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• 2020

This study has started from the political process of local community power structure to elaborate the reason why both a majority of cultural artists and cultural artist organizations want to be against establishing the local Foundation for Arts and Culture. The cultural artists and cultural artist organizations believe that the establishment of the local Foundation for Arts and Culture might threaten not only their monopolistic status or their livelihood in the local market relying on public supports, but also make them being marginalized from the potential supports. Therefore many of them have somewhat unfavourable opinions about its establishment. Drawing from the Jellabuk-do case, their concern of being isolated from the monopoly by the local Foundation for Arts and Culture are reduced to publicized discourses such as powerization, the lack of expertise, the loss of independence, and the fall of business. When constructing the Foundation for Arts and Culture, the major values are 'Pluralism' and 'Fairness'. On one hand, the terms of Fairness means that it should be fair in operations, support and executive composition. On the other hand, Pluralism means that policy-making rights should be distributed to various groups, not owned by some specific groups. Some plans for building Foundation for Arts and Culture are needed to make diverse classes and groups to expect the pluralistic interests emerged eventually.

• Archives of design research
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• v.11 no.1
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• pp.21-32
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• 1998

50년대에 급속한 경제성장을 이룩한 서독은 수출증대를 위하여 대량생산제품의 개발을 통한 국제경쟁력 강화를 꾀하였다. 여기에서 디자인이 제품의 질적 요소로서 그리고 판매증진의 요소로서 이해됨으로써, 제품개발을 위한 디자인의 개발이 강하게 요구되고, 또한 디자이너 양성을 위한 대학의 필요성이 대두되었다. 이러한 사회적 요구에 힘입어, 울름 조형대학은 '53년 8월 그 문을 열게 되었다. 설립초기에서부터 이 대학이 가장 중요하게 내세운 것은 바우하우스의 계승이었다. 그러나 초대 학장 막스 빌의 현대예술 중심적 디자인 관과 바우하우스 교수법을 그대로 답습하는 기초교육과정은 - 과학적으로 객관화된 디자인을“정치적”으로 정립하고자 - 바우하우스 이념을 계승하여 새로운 사회건설을 지향하는 젊은 강사들과 대립되는 것이었다. '55년 토마스 말도나도가 학장직을 대행하면서부터, 과학과목들의 도입과 더불어 바우하우스 계승의 길이 새롭게 모색되기 시작하였다. 그러나 디자인의 과학화 과정에서 과학기술을 맹신적으로 따르는 기술교조주의라는 문제에 즉면 하게 되고, 디자인에서의 과학기술을 사회적으로 재정립하기 위한 방향이 모색된다. 이로부터 인본주의적 인공환경의 건설을 지향하는 사회적 디자인, 즉“환경디자인 Umweltgestaltung”개념이 개발되고, 이의 과학적 방법론이 연구되었다. 결국,“환경디자인”은 울름 조형대학이 궁극적으로 추구한 불변의 이상향이 되었고, 이의 실천을 위한 기본 방법은“유닛시스템디자인Unit System Design(Baukasten-Systemdesign)”이었다. 이와 같이 울름 조형대학은 바우하우스의 계승이라는 대 명제 하에 인본 적으로 객관화된 과학적 디자인 개발에 일관된 노력을 기울였다. 그러나 여기에서 나타난 - 후기산업사회의 인간 중심적 발전을 목적으로 새로이 정립된 - 인본주의라는“정치성”으로 인하여, 결국 '68년 9월 30일 그 문을 닫게 되었다.

• The Korean Journal of Archival Studies
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• no.63
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• pp.145-165
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• 2020

, in collaboration with Mary Kelly, Kay Hunt and Margaret Harrison, tells the story of workers in the 1970s. Since the late 1960s, the world has undergone many political and social changes, and social movements have been active to protect the socially underprivileged, including women, children and workers. This phenomenon led to the diversification of the collection of the general public, the community, and the minority, and the expansion of the artist's political remarks and themes in the art world. , completed in conjunction with these social issues, surveyed and recorded the reality of workers in a factory in London and produced it as a artwork. is a collaborative work of three artists, a record of workers in the 1970s, and a record of the labor situation, factory, and even the history of the region. Therefore, this study examined the methods and features of , which dealt with the lives of women workers in the 1970s, based on social conditions.