• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.305-306
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• 2017

국립중앙도서관을 중심으로 한 ISNI 발행은 우리나라의 문화를 해외에 소개할 수 있는 안정된 기초를 마련하는 것이며, 국내외 다양한 문화예술기관의 데이터를 공유할 수 있는 플랫폼을 제공하는 것이다. 본 연구는 문화예술데이터의 공유 방안을 살펴보았다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.252-255
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• 2021

코로나19 바이러스로 인해 이전에는 부가적으로 이루어졌던 온라인 공연이 오프라인 공연의 대안으로 떠오르며 비대면을 일컫는 '언택트(Untact)'에 온라인을 통한 외부와의 '연결(On)'을 더한 개념인 온택트 공연의 사례가 늘어나고 있다. 그러나 오프라인 콘서트에 직접 참여하여 느낄 수 있는 공연자와 관객 간의 상호작용을 전달하기는 어렵다. 이에 본 논문에서는 'ZOOM'이라는 화상회의 플랫폼을 활용하여 현장감을 더하고, 기존의 중계시스템에서 사용하던 SDI 방식보다 더 간단하고 효율적인 NDI(Network Device Interface) 기술을 적용한 온택트 중계시스템을 제안한다.

• Ingenium
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• v.29 no.4
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• pp.77-91
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• 2022

• Journal of Service Research and Studies
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• v.13 no.1
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• pp.108-126
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• 2023

This study explored the sustainability of a blockchain-based cultural art performance video platform through the construction of Gyeonggi Art On, a new media art broadcasting station in Gyeonggi-do. In addition, the technical limitations of video content transaction using block chain, legal and institutional issues, and the protection of personal information and intellectual property rights were reviewed. As for the research method, participatory observation methods such as in-depth interviews with developers and operators and participation in meetings were conducted. The researcher participated in and observed the entire development process, including designing and developing blockchain nodes, smart contracts, APIs, UI/UX, and testing interworking between blockchain and content distribution services. Research Question 1: The results of the study on 'Which technology model is suitable for a blockchain-based performance video content distribution public platform?' are as follows. 1) The blockchain type suitable for the public platform for distribution of art performance video contents based on the blockchain is the private type that can be intervened only when the blockchain manager directly invites it. 2) In public platforms such as Gyeonggi ArtOn, among the copyright management model, which is an art based on NFT issuance, and the BC token and cloud-based content distribution model, the model that provides content to external demand organizations through API and uses K-token for fee settlement is suitable. 3) For public platform initial services such as Gyeonggi ArtOn, a closed blockchain that provides services only to users who have been granted the right to use content is suitable. Research question 2: What legal and institutional problems should be reviewed when operating a blockchain-based performance video distribution public platform? The results of the study are as follows. 1) Blockchain-based smart contracts have a party eligibility problem due to the nature of blockchain technology in which the identities of transaction parties may not be revealed. 2) When a security incident occurs in the block chain, it is difficult to recover the loss because it is unclear how to compensate or remedy the user's loss. 3) The concept of default cannot be applied to smart contracts, and even if the obligations under the smart contract have already been fulfilled, the possibility of incomplete performance must be reviewed.

• 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.

• Journal of Korea Game Society
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• v.21 no.6
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• pp.63-74
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• 2021

Metaverse fits well with the lifestyle of MZ generation who carries smart-phones at all times and value their identity. This study proposes a planning model that develops Minhwa, traditional Korean culture and arts, into art galleries on Zepeto, a metaverse platform. To this end, the characteristics of the metaverse platform, open world, sandbox, creator economy, and avatar, are analyzed and developed into a planning to open a Minhwa museum on Zepeto. While reinterpreting traditional Korean art in a modern way, it is worth researching as a metaverse planning and development model suitable for the new-tro sensibility of the MZ generation.

• Korean Association of Arts Management
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• no.58
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• pp.179-204
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• 2021

Not only the consumption trend after the COVID-19 pandemic but also low financial interest rates have stimulated people to invest artworks. With the recent noticeable growth, art investments that mainly conducted by younger generation through online platform can be characterized by a fractional ownership in art market which means several people share one piece of artwork. This study explores 4 fractional ownership platforms in the domestic art market including Art Together, Art & Guide, Tessa, and Pica projects, using a business model canvas that describes nine key elements: Customer Segments, Value Proposition, Channels, Customer Relationships, Revenue Streams, Key Resources, Key Activities, Key Partners and Cost Structure. The four cases have similar business models, but the details of revenue streams are different. The key sources of revenue are the profit and commission of the work. Thus, maximizing the profit margin of artworks is the core of revenue streams, so selecting and purchasing highly profitable artworks are significant. Based on the analysis, there are 3 suggestions to continue fractional ownership platform businesses in art market successfully. First, it is required to have a long-term perspective on art investments, as a way to diverse asset portfolio. Second, business confidence should be increased to maintain customer loyalty. Third, the role of platforms as competent experts is important.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.1-18
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• 2022

This study critically analyzed the user experience (UX) of mobile applications, focusing on the advertising platforms of mobile applications for culture and arts content. This study aims to examine the direction for growth of the related mobile applications and propose alternative approaches to improve usability. In this study, a mobile app named 'Moviepre' was selected, and a heuristic evaluation was performed for in-depth exploration. For the selected case, the UX Honeycomb model was reconstructed to analyze useful, usable, desirable, findable, accessible, and credible elements of the case. First, since the users' preference for the price factor did not show a significant correlation with the usefulness of the content and the interface, it is necessary to make sure that the mobile application has unique values to gain a competitive advantage in the market. Second, by adopting customer path stages for analysis, the result indicated that users continuously interact with the service from the first moment they are aware of the mobile application. Third, if the user feels uncomfortable, it is likely that these factors hinder the establishment of a long-term relationship between the users and the mobile application. Finally, brand identity should be clearly established, and brand image strategy needs to be developed to satisfy users' expectations that high-quality culture and arts content will be available through the mobile application.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.540-547
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• 2022

Online education is a major trend in the future education change and the COVID-19 pandemic has further accelerated the process. Online education has become an important part of the modern education system because of its stability and continuity. However, the disadvantages of traditional online education can reduce users' experience, thus upgrading online education is the key to future education. Metaverse, as a new platform for online education, redefines the occurrence space of online education, changes the teaching mode and learning and evaluation methods of online education, and shows its development potential. This research analyzed the characteristics of Metaverse and its technological development status, and then proposed an intelligent online education environment construction scheme based focused on Metaverse of art education.

• Trans-
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• v.6
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• pp.1-15
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• 2019

Performing arts is an intangible arts that disappears immediately at the moment it is presented and remains only in the memory of the performer's body and audience. The same repetition, restoration and reproduction of the disappeared performance is impossible, but artists of all times and places have tried various recording methodology to leave their performances in the tangible form. The performing arts archive is where performing arts are recorded, preserved, and utilized. In the fourth industrial Revolution era, library institutions in developed countries are turning into institutions that support creative activity by not only artists but also the general public. Korea's performing arts archives should also shift from the role of an old archive to a platform to create new cultural contents. This paper summarizes the changes in the Korean performing arts archive and presents the creative application of the performing arts archive in response to the fourth industrial revolution.