• Journal of Digital Convergence
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• v.18 no.9
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• pp.373-378
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• 2020

With the continuous development of economic activities of influencer(people with social influence). Because of 'Influencers' bring huge economic benefits, all walks of life are creating their own 'influencers'. In the art exhibition industry, the 'influencer' art exhibition pays more attention to experiencing the audience. Although it reduces the professionalism of art exhibitions, it also lets more non-professional visitors to see and experience art exhibitions. In this paper, the write takes the 'influencer' art exhibition as the research object and divides into 'emotional immersion' and 'technological immersion', and analyzes the development status of 'influencer' art exhibition. It is a commercial marketing method to call art exhibition 'influencer'. But with the increasing demand of the public for art and culture consumption. the 'influencer' art exhibition, which can bring immersive cultural experience to the audience. It just meets the cultural consumption demand of the public. So that it has become one of the main forms of art exhibition. In the future, immersive 'influencer' art exhibition will become the main form of art exhibition. With continuous innovation and creativity, art professionalism and commercial marketing, the 'influencer' art exhibition will continue to develop.

• Korean Association of Arts Management
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• no.52
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• pp.5-37
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• 2019

Despite a copious volume of work on the relationship between social class and cultural consumption, scholars have paid scant attention to the increasingly apparent observation that a vast majority of the population exhibits indifference toward fine arts regardless of one's socio-economic status. Much of the prior literature on cultural consumption has treated the public's indifference to fine arts not as a distinct analytical category that deserves an explanation of its own, but simply as the opposite of "likes" or the act of consumption, let alone being disentangled from the concept of "dislikes" in taste-formation and consumption behavior. In this paper, we suggest that the seemingly increasing trend toward indifference to fine arts, especially among those who are part of the well-educated and economically well-off, merits close scholarly attention on its own term. As an initial step toward this endeavor, we explore the factors behind indifference toward fine arts among Korean middle-class, using the ground theory method. Our interview findings reveal that much of indifference toward fine arts is attributable to the lack of tastes in fine arts and artistic competence. Our results suggest that research drawing on Bourdieu's theory and Peterson's omnivore hypothesis needs to be further revised through an in-depth investigation of the institutional and societal contexts where art education takes place in Korea. We discuss the implications of our findings for policy-making in the cultural and artistic sphere.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.442-445
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• 2008

현대 도시의 새로운 이미지 창출을 위해서 공공예술은 중요한 요소이다 과거 조형적 작품으로 이루어지던 공공예술은 미디어아트, 인터렉티브 아트등 새로운 예술분야로의 접목이 늘어나는 경향이 나타난다. 그러나 인터렉티브 아트가 공공예술로 정착되기에는 가기고 있는 문제점이 있다. 이를 보완하기 위해서 본 논문에서는 엠비언트 아트(Ambient Art)를 활용하였다. 엠비언트 인텔리전스(Ambient Intelligence)에서 파생된 개념으로의 엠비언트 아트는 Ambient Display와 Ambient Media 등을 사용하여 사용자의 주의 없이도 환경정보를 활용하여 인터렉션을 일으켜 작품에 생명력을 부여하는 예술장르를 말한다. 기존 연구에 의하면, 엠비언트 아트는 상황인지, 개인화, 분위기, 상호작용, 자가성장의 5가지 특성을 지닌다. 그러나 엠비언트 아트가 공공예술로 사용되기 위해선 소통, 보안, 선택권의 3가지 요소가 필요하다. 공공공간이 지니고 있는 특성과 공공예술이 가지는 파급효과를 고려하면, 3가지 요소가 중요하다. 보다 높은 수준의 소통과 과도한 관객의 상황정보 수집으로부터의 보호, 관객의 작품 참여 선택권은 엠비언트 아트가 가져할 구성요소이다. 본 논문에서는 3가지 요소를 포함하는 새로운 장르의 공공예술(New Genre Public Art)의 공공 엠비언트 아트(Public Ambient Art)를 제시하여 대안을 마련하는데 의의가 있다.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.5-14
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• 2018

Main purpose of this research is to discuss relationship between digital art works and audience by expansion of Body Schema from Maurice Merleau Ponty's viewpoint, and artistic value of digital art works also became discussed in this research, based on Heidgger's concept called 'Defamiliarization'. We found this 'Defamiliarization' became an important role of digital art works caused by interaction between arts and audience. And we also discussed audience's role as a poet, being-in-between in between the earth and the world, gods and mortals called Heidegger's 'fourfold'. As a conclusion, this unique experience compared to other works is called "A shamanic experience", as an artistic value in interactive digital art works.

• Journal of Gifted/Talented Education
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• v.21 no.4
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• pp.1011-1032
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• 2011

For recently training the creative convergence talents, 'art education' is being greatly noted at home and abroad. In the meantime, this art education, which is being paid attention now as the educational trend of 'new alternative' in international society, has great difference in the aspect of objective, contents, and an operating method from the traditional art education in the past. Accordingly, this study analyzed and introduced the international art-education trend in a new concept, pointed out problems of art education as a part of activating the art education at elementary and middle schools, which is being driven now by the government, and of the integrated art education in the science technology field like STEAM, and suggested the desirable art-education orientation direction of satisfying the historical and social needs hereafter.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.241-255
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• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• Korean Association of Arts Management
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• no.58
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• pp.205-239
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• 2021

This study explores the importance of semantic web-based network construction in art data archiving, as well as its meaning and value in the context of arts management along with its potential for future application. The study focuses on oral history obtained from the Arko Arts Archives that contained records of the lives and artistic views of early artists. In this study, the possibility of applying semantic web-based technology to materials concerning culture and the arts was discussed in five aspects based on the results of the case analysis. First, checking the relationship and discovering hidden artists are possible by revealing relationships between characters. Second, understanding and studying society and culture at a given time is possible by interpreting the contextual meaning of information. Third, art exploration can be done broadly and deeply, encompassing various genres from the perspective of the consumer. Fourth, through art construction, history can be reconstructed using a new and rich method. Fifth, expanding the scope beyond the boundaries of art is possible through convergence and collaboration of programs that handle big data. The network data can be used in various methods, such as art history research, art planning, and creation, throughout the art ecosystem. The results of the study suggest that digitizing a large quantity of data concerning culture and the arts is meaningful in arts management as well as identifying and analyzing the relationship network among data clusters using semantic web-based technology.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• Korean Association of Arts Management
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• no.58
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• pp.89-119
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• 2021

This study empirically analyzes the factors that affect the people's enjoyment of pure culture and arts, especially art exhibitions. We use 56,588 sample data from the "The Survey of Cultural Enjoyment" collected by the Ministry of Cultrure, Sports and Tourism over the last 10 years and perform multiple regression and Multi-Way ANOVA to analyze the effect of individual's cultural experience on art exhibit visits. The results of the analysis show that the experience of participating in culture and arts events, culture and arts education, and participation in culture and arts clubs have a positive effect on the art exhibition visits. We also identify the positive interaction effects between the three independent variables. In other words, it was found that the average number of visits to art exhibitions was higher for groups who had experience of participating in culture and arts events, culture and arts education, and culture and arts clubs. This study provides a first empirical analysis on personal factors influencing art exhibition visits in Korea and lays the groundwork for future studies in developing a comprehensive predictive model for cultural art visits. In addition, we give policy implications and suggestions specifically, mid-term policies related to promoting art exhibition visits as an extension of individual's engagement with pure culture and arts through big data analysis.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.59-62
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• 2004

조형예술은 의상디자인 창작에 있어서 디자이너들에게 가장 큰 영감을 주는 분야라 해도 과언이 아니다 많은 디자이너들이 자신의 영감을 조형예술에서 찾는다고 볼 수 있는데 20세기 초부터 Paul Poiret를 선두로 하여 디자이너들이 예술작품에서 영감을 얻었을 뿐만 아니라 예술가들과 공동작업을 벌여왔고 예술가들의 의상디자인 직접적 관여는 의상을 예술의 위치에 놓는데 한 몫을 담당하였다. (중략)