• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1081-1086
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• 2009

기술의 발전은 사회에 많은 변화를 일으키고 있다. 또한 기술의 발전은 예술 영역에 있어서도 형식과 내용에 많은 변화와 영향을 주고 있다. 컴퓨터 아트, 인터액티브 아트, 뉴 미디어 아트라고 불리는 새로운 예술 장르들이 탄생하였으며 예술가들은 다양한 기술과 접목하여 새로운 작품을 만들어 내고 있다. 뉴 미디어 아트의 중요한 특징 중 하나는 상호작용성인데 이것은 예술작품, 예술가, 그리고 관람자의 수용방식에 결정적인 변화를 가져왔다. 즉 뉴미디어 아트서의 예술작품은 완성태가 아닌 과정(process)으로 주어지고, 예술가는 작업의 초안자 또는 작업의 맥락을 규정하는 자로 규정되며, 작품과 관람자간의 상호작용이 무엇보다 강조된다. 그러나 기존의 뉴 미디어 작품에서 일어나는 상호작용성은 미리 계산된 범위 안에서 일어나는 제약이 있기에 진정한 상호작용성이라고 보기 힘들다는 비판도 있다. 이런 상호작용성은 공학적 세계관에 갇힌 닫힌 시스템으로서의 상호작용성이라고 말하며 미적인 상호 작용성의 도구로서 열린 시스템으로서의 새로운 작품의 필요성을 제시한 예술가들이 있다. 본 논문은 이러한 예술가들의 발자취를 따라 더 본질적인 미학적 상호작용성에 대한 고민과 함께 그에 따른 새로운 상호작용적 예술인 행동지향적 예술로서 인공지능, 인공생명 아트에 대하여 살펴보고자 한다.

• 한국만화애니메이션학회:학술대회논문집
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• 2011.05a
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• pp.66-77
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• 2011

1895년 영화가 탄생하면서부터 영화가 예술로서 인정받기까지 오랜 시간이 걸렸듯이 영화가 그 교육적 가치를 인정받기까지도 상당히 오랜 시간이 걸렸다. 즉, 영화가 소비 지향적이라는 비판에서부터 영화는 집에서만 봐도 충분하다는 식의 편견까지 이러한 오해를 불식시키기까지 짧지 않은 시간이 흘렀다. 영화 자체가 교육적 대상으로 인정받기 시작한 것은 1964년 영국영화연구소에서 나온 "영화교육(Film Teaching)"에서 영화교육의 필요성이 논의된 이후에 자연스럽게 그 가치를 인정받기 시작했다. 한편 2004년부터 예술강사 지원사업에 의해 영화교육의 대중화가 본격적으로 이루어졌고, 한 해 뒤인 2005년 만화애니메이션교육이 대중화시대를 열었다. 이렇듯 만화애니메이션교육과 영화교육은 그 교육적 접근은 오래되지 않았지만, 교육과 관련해서 전문적인 동시에 대중적인 측면도 함께 지니고 있다. 다시 말해서, 대학교육에서 이론적이고 실제적인 교육이 이루어지고 있지만, 대중적인 영향력을 통해서 초 중등학교에서 많은 관심을 가지고 있는 교육영역이다. 이렇게 다양한 층위에서 진행되고 있는 만화애니메이션교육과 영화교육을 문화예술교육이라는 범주에서 살펴볼 것이다. 이는 전문예술인 양성을 위한 전문교육인 아닌 초 중등학교에서 이루어지고 있는 문화예술교육이라는 관점에서 바라볼 것이다. 특히 한국문화예술진흥원의 예술강사 지원사업을 중심으로 현재 진행되고 있는 만화애니메이션교육과 영화교육을 점검할 것이다. 그리고 영화교육에서 진행되고 있는 교직과정을 살펴봄으로써 만화애니메이션교육도 이러한 제도적 뒷받침의 필요성을 밝힐 것이다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.273-276
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• 2021

기존의 중계 시스템은 유선 기반으로 방송 중계차와 케이블 등이 필요하여 시간과 비용, 장소의 제약과 같은 여러 한계점을 가지고 있었다. 하지만 무선 중계 기술의 발전으로 무선 카메라만 있으면 긴급재난 현장이나 중계차가 들어갈 수 없는 지역에서도 중계가 가능하게 되면서 중계방송의 제한 범위가 좁아지고 있다. 따라서 본 논문에서는 시간과 장소의 제약 없이 방송을 송출할 수 있는 5G 무선 중계 시스템을 분석한다. 분석한 시스템은 5G 모뎀이 장착된 MNG 장비를 이용해 UHD와 4K 신호를 무선으로 처리하여 초저지연·초고화질로 송출한다. 또한 현존하는 멀티뷰 기술을 접목시켜 시청자들이 원하는 서비스를 제공한다.

• (The) Research of the performance art and culture
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• no.22
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• pp.253-285
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• 2011

The number of "Performing Arts Festivals" is growing increasingly in South Korea. This trend is mainly held in large cities which are difficult to communicate closely among residents. South Korea, while the pace of city life and speed of development are very fast, increasing number of "Performing Arts Festivals" with communal characteristics is in the natural process of festival evolution in large cities. In the evolution of the contemporary festival, it is natural to see some increase of modern festival after the development of traditional and folk festivals. It is important that the "Performing Arts Festivals" express the two elements, artistic character and festivity, not only in distinctively but also in harmony. The "Performing Arts Festivals" should consider the process of the organization, human resources, networking systems of the human communication process, resource use, etc. For the success of the festival, we must obtain the complementary effects between two attributes:festival characteristics and artistic senses. Therefore, we chose the 'Festival d'Avignon' as the reference of the total representation of artistic characteristics and festivity. From the case of the Festival d'Avignon, we get the implications of the development of performing arts festival in South Korea. To explain the festival value and artistic significance of the Festival d'Avignon, we explained the spontaneity and openness to public participation, the relationship between spectators and works, the representation of memory and communicative image, etc. To explain the artistic attributes of the 'Festival d'Avignon', we explained the mission to reconcile the artistic and the popular, to promote the artistic know-how, understanding how to communicate with the public, to consider more artistic quality than commercial benefits. Essentially, this study shows the meaning and the vision to forecast the future as well as the recent proliferation in various fields of Performing Arts Festivals. This study may help to improve analytical precision of Performing Arts Festivals.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Information Systems Review
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• v.14 no.1
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• pp.105-128
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• 2012

The Culture and Arts Website, one of the parts of providing information related to culture and art utilizing internet, is the website that giving information of arts genre like theater, music, art, architecture, video, and literature. As growing interest in the field of culture and arts, market of this website has been increasing and providing customized content which each customer wants in the field of culture and arts. Developers of culture and arts website consider the website media for increasing and developing awareness about culture and arts. They are accelerating development of various business models and application of culture and arts website service which it meets trend of the times and customers needs. This study will seize about influencing factors to culture and arts website service of domestic website users and analyze how these factors affect loyalty through satisfaction and word of mouth. This study presented research model applied main parameters of PAD(Pleasure, Arousal, Dominance) theory emphasized human's emotions that they are expected to affect the loyalty of culture and arts website service users based on satisfaction and word of mouth. The researcher in this study surveyed students of Seoul S University who had experiences with such culture and arts website to validate the model empirically. The results, firstly, if you experienced feeling related to pleasure and dominance in culture and arts website, you would satisfy this website and it could lead to loyalty. Secondly, the feeling related to ventilation does not affect the loyalty through satisfaction and word of mouth. Thirdly, the results show that all of three factors of emotional responses do not influence the loyalty through word of mouth.

• Journal of Digital Convergence
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• v.16 no.5
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• pp.425-433
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• 2018

Korea's film industry structure is focused on commercial movies centering on large companies, and its diversity and artistry are relatively overlooked. In addition to trends in the digital media age, the flood of consumable contents on the basis of special effects such as C.G, And is losing popularity as a popular art. The popular art should lead the mature social culture with the educational enlightenment character which induces the indirect experience and the wide insight of the world through the material and expression about the humanities study of the individual and the society. The analysis of the society's artistry and artistry about the movie "(2017)" can be a measure of the definition and kind of artistry in commercial movies and methodology about the manifestation of artistry. As a research methodology, we try to measure the future of the film industry by analyzing the status of the film as popular art, such as intellectual exploration and logical completeness of the essence of society, Through analyzing and criticizing the artistic characteristics in commercial films, I would like to suggest some improvement points by deriving the indicators of the artistic nature of commercial films. The film "1987" is a good example of an ideal commercial film with an artistry that cultivates cultural literacy, promotes civic consciousness through enlightenment messages, and plays a role of self-reflection through art experience. In other words, it shows the possibilities of commercial film with artistry in popular culture, such as a humanistic examination of true history and society, and an introspective gaze of the director expressed through the film society.

• Journal of Gifted/Talented Education
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• v.25 no.2
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• pp.299-320
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• 2015

This study aimed to explore the problem in curriculum development in school-based gifted program in the arts and suggest the way to solve that. For this study, we surveyed 28 teachers and guest instructors, furthermore interviewed 6 teachers (4 in music and 2 visual arts). The study results indicated that not only curriculum development of school-based program for the gifted in the arts was not systemic, but also most teacher depended excessively on guest instructors due to the lack of expertise and information for curriculum development. Also, They did not understand specific meaning of the giftedness and gifted curriculum in arts nor recognize the unique role of school-based gifted program. In addition, most teachers simply attempted to solve lack of knowledge and experience on a personal level. Their research condition were inadequate to plan curriculum. To solve these problems in curriculum development in school-based gifted program in arts, we suggested some solutions: differentiated teacher in-service program, the achievement criteria for fundamentals of curriculum, system for connecting materials, information and human resources, as well as consultative body for improving the present condition of school-based gifted program.

• 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.

• Review of Culture and Economy
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• v.20 no.2
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• pp.19-45
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• 2017

This paper aims to apply our research and theorization on arts entrepreneurship to entrepreneurs active in the arts and cultural sector. Our goal is to develop proposals for practical actions that can support both arts entrepreneurs and supportive arts advocates. Using Action Research methodology, we hosted and facilitated two workshops with selected groups of arts entrepreneurs. Prior to the workshops we designed a questionnaire, based on the competency theory, to assess the qualities and characteristics of the participants. During the workshops we conducted surveys, interviews, and made observations in order to further understand the knowledge, experiences, motivations, capabilities, and attitudes necessary to successful arts entrepreneurship. We also conducted in-depth follow-up interviews with participants as a cross-check. We found that most of the participating arts entrepreneurs had a low understanding of the technology required for effective arts entrepreneurship, which has resulted in insufficient managerial support for artistic innovation. In addition, we found that participants lacked the skills and clear vision to construct a viable economic engine for their organization. Nevertheless, in light of the considerable strengths and high levels of enthusiasm and commitment participants evinced, we believe that their deficits can be corrected with education and training. Thus, we conclude by discussing the path forward and outlining a proposal to develop an innovative educational program on the daily operations of arts management that emphasizes applied technology and creating financial sustainability.