• Proceedings of the Korean Society for Information Management Conference
• /
• 2014.08a
• /
• pp.37-42
• /
• 2014

최근 국내에서는 공연예술의 문화적 가치 향유와 보존에 주목하고 있다. 국가단위 움직임은 물론 민간단위에서도 공연예술 관리 기관이 속속 등장하고 있어 그 관심의 정도를 말해준다. 하지만 관심의 정도에 비례하여 공연예술자료가 지닌 고유한 특성과 맥락을 온전히 수집 정리 서비스되고 있는지는 의문이다. 이에 본 연구에서는 국내 대표적 공연예술자료관리 기관인 한국문화예술위원회 예술자료원, 국립극장, 국립국악원 세 곳을 사례로 하여 국내 공연예술관리 기술 정리 현황을 조사 분석해 문제점을 알아보고 이 결과를 바탕으로 바람직한 정리와 기술을 위한 시사점을 도출하려 한다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2022.11a
• /
• pp.244-246
• /
• 2022

중계 시스템은 드론과 무선 장비들을 사용하기 시작하였고 여러 가지 시스템을 도입하고 있는 추세이다. 따라서 본 논문에서는 드론과 4K, 무선을 기반으로 한 중계 시스템을 제안한다. 제안한 시스템은 드론을 활용하여 더욱 현장감 있고 역동적인 콘텐츠를 제작할 수 있다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2020.11a
• /
• pp.290-293
• /
• 2020

라디오 방송은 무선 통신 매체로써 가장 오래된 방송 역사를 가지고 있다. 최근에는 다매체의 등장과 인터넷의 발달로 위상이 과거에 비해 추락하였다. 하지만 다양한 매체 속에서도 라디오가 가지는 특수성이 있음은 분명한 사실이다. 따라서 이에 대한 청취자들의 수요가 꾸준히 존재하기에 본 논문에서는 라디오만이 갖는 오디오의 특성을 살려 청취자들의 흥미를 유발할 수 있는 멀티 채널 오디오 시스템을 제안한다. 이를 통해서 기존의 라디오 시스템에서 탈피하여, 청취자들이 선택적으로 오디오를 청취하는 시스템을 구축하고자 한다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2020.11a
• /
• pp.294-296
• /
• 2020

코로나(COVID-19)로 인해 언택트(Untact) 방송이 활성화된 현 시점에서 기존 방송의 형태는 나날이 변화하고 있다. 특히 1인 미디어 대한 관심이 급증하게 되면서 1인 방송 체제가 전통적 미디어뿐만 아니라 대중에게까지 많은 영향을 미치며 하나의 트렌드로 자리 매김하게 되었다. 따라서 본 연구는 1인 방송의 특성과 시스템 설계를 바탕으로 최소한의 장비를 사용하여 양질의 스트리밍 서비스를 제공하기 위한 1인 방송 시스템을 구축하고자 한다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2020.11a
• /
• pp.297-300
• /
• 2020

COVID-19로 인해 많은 사람들이 다양한 오프라인 활동을 즐기지 못하고 있다. 따라서 포터블 중계 시스템을 이용하여 온택트 시대에 맞는 소통 콘텐츠 제작이 요구되고 있다. 본 논문에서는 방송 송출 프로그램을 이해하고 그를 이용한 CG사용과 크기가 작은 포터블 중계 시스템의 장점을 살려 장소에 제약이 없는 실시간 유튜브 스트리밍 구현을 설계하였다.

• Journal of Korean Philosophical Society
• /
• v.142
• /
• pp.295-321
• /
• 2017

This paper discusses Hegel's concept of Art criticism, focusing on the article "${\ddot{U}}ber$ die Bekehrten" in 16. Vol. of Hegel's Gesammelte Werke. Hegel is a theorist of the system of art, but also an art critic who actively participated in popular art practice. Until now, Hegel has been interpreted mainly as a theorist who usually constitutes the system of art. According to many interpretations, Hegel has been criticized for his theories frame interpretation of the Artwork compulsorily. But in this article we see another aspect of Hegel as an art critic. First, in this article Hegel shows as an art critic how romanticists distort the work with an emphasis on the theory. Hegel argues in his article written in early 1826 that romantic ironic theory does not help at all in understanding the "die Bekehrten" of Laupach. Whereas ironic theory emphasizes the contradiction between character and its action as the essential value of the work, Hegel interprets that the comic is at the center of the work, which lets the unessential sides of the unified character disappear, so that the unity of the character expresses itself. Hegel also interprets that the theory of irony represents the work of art for the scholars, which harms the objectivity of artwork and defends the artwork for the public. Second, Hegel began to apply the achievement of his criticism to his aesthetic lectures. Since 1826 Hegel has focused intensively on discussing two concepts, romantic irony and 'artwork for the public' in his aesthetics lectures. Thus, this article provides a basis for Hegel 's criticism of ironic theory after 1826 and the concept of artwork for the public. In this respect, we can confirm that Hegel has reinforced and extended his theories through his practice of criticism of concrete works of art rather than imposing systematic theories upon art criticism

• Journal of Korean Philosophical Society
• /
• v.145
• /
• pp.143-165
• /
• 2018

This paper aims to describe the past character of art through Gadamer's interpretation of "End of the Art" thesis of Hegel. His interpretation also reveals that new art can demand a validity as a way of self-understanding that the art understands itself from its past. Hegel declared the end of art in his philosophical system. From Gadamer's perspective, it means that art has past character in the horizon of modern christianity-humanistic self-evidence (II). Then art understands itself as the past and demands its own validity. Gadamer sees that art cannot require common self-evidence which is clearly and universally understood by all in an age of "the end of self-evidence." And according to him, this requirement shows up in the phenomenon of anti-art in post-modernism(III). From his standpoint it is about time to demand new validity of art again and this requirement could be complied through hermeneutical self-understanding. Art exists as a self-understanding artwork in the cycle of understanding in which art understands itself as an understood past. As a play is played by players, artwork exists as participating spectators. This artwork does not demand a common understanding but exists through various understandings of spectators(IV).

• The Journal of the Korea Contents Association
• /
• v.21 no.3
• /
• pp.301-313
• /
• 2021

This study was conducted on 253 artists for a month from April 19, 2020 to study the influence and countermeasures of COVID-19. The analysis results are as follows. First, as a result of frequency analysis, the timing of the occurrence of COVID-19 and the period of the decrease in artist's artistic activities were consistent, and the subjective socioeconomic level perceived by the artist was degraded from COVID-19. Second, as a result of the multivariate variance analysis, the income level and employment environment of artists affected the variables associated with COVID-19. Third, as a result of the hierarchical analysis analysis, the income level and the socioeconomic level changes due to COVID-19, and concerns about COVID-19 infections, have been shown to have had a significant impact on the level of stress felt by artists. Fourth, as a result of qualitative research, the artist reported that he was experiencing economic and psychological difficulties due to the influence of COVID-19, and emphasized the need for policy support as a way to cope with them. We hope that the results of this study will be used as empirical data in the process of developing support systems and programs for artists experiencing economic constraints and social alienation due to COVID-19.

• Korean Association of Arts Management
• /
• no.52
• /
• pp.39-73
• /
• 2019

The purpose of this study is to explore the issues and alternatives in the promotion of space and exhibition support projects in visual arts, and to suggest an applicable direction of the government grant program. For this study, FGI and in-depth interviews were conducted in the direct beneficiaries of the grant program, the staff of the grant program, and the group of visual arts expert. As a result, the deliberation and selection of the support project should be carried out with sufficient time in consideration of the specificity of the support project. And the project requires to divide into two kinds of the projects based on the understanding of the social role and differentiation of non-profit exhibition spaces and private art museums. For the grant application and assessments, a long-term support is necessary to bring the capability and issues in efficient allocation of the budget, flexibility of budget item, and the budget shortfalls. Furthermore, the reliability between the grant program and beneficiaries needs to form a healthy partnership, and the evaluation criteria and eNARADOEUM system should be more practical and rationally established. Through this analysis, the implications of understanding the specificity of visual arts support projects, establishment of sustainable visual arts creation policies, and budget utilization were derived. Consequently, cultural and artistic support projects were directed to place more emphasis on efficiency than control, direction considering the position of consumers than suppliers, and long-term business planning rather than short-term perspective.

• 프린팅코리아
• /
• v.13 no.10
• /
• pp.116-117
• /
• 2014

현대사진예술의 흐름을 한눈에 볼 수 있는 국내 최대 사진축제인 '2014 대구사진비엔날레'가 9월 12일부터 10월 19일까지 대구문화예술회관, 대구예술발전소, 봉산문화회관 등 대구시내 일원에서 열린다.