• Journal of Korean Library and Information Science Society
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• v.50 no.2
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• pp.311-337
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• 2019

The study is to structure materials of cultural arts in "Namdo(Jeollanamdo and Gwangju)" province. Especially the study focuses on establishing description elements for serving diverse materials. First, the authors makes the draft version(4 entities, 28 elements and 115 subelements) by reviewing literature and conducting case study. Then, experts review the draft version and the authors draws final version that consists of 4 entities(materials, performances, agents, facilities), 28 elements and 117 subelements. From the viewpoints of locality, cultural arts materials, and cultural artists, the description elements in this study are distinguished from other studies.

• Journal of Legislation Research
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• no.55
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• pp.7-56
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• 2018

This paper deals with the legal meaning and issues of street performances. The key elements in the legal sense of street performances (or artistic performances) are 'public places' and 'artistic activities'. Therefore, as far as belongs to "artistic activities in public places", we can call them in principle as street performances regardless of its level of art, whether they are paid or not, size of performances or genre of artistic activities. Street performances are a way for anyone to freely participate and enjoy art by being performed on open places. In addition, street performances can be seen as more popular and democratic artistic acts than mainstream art culture in that anyone can become street performers. Although street performances are in vogue and becoming a universal cultural phenomenon, they do not appear to be legally organized yet. However, we don't have to strictly regulate street performances on the grounds that they are something different and special. Instead, they should let their street performances be freely performed and enjoyed in accordance with the constitutional law that guarantees the freedom of art or the freedom of artistic expression. Of course, it is necessary to modify the relevant laws on key issues raised regarding street performances. Finally, for street performances to be well established as cultural phenomenon, it should be harmonized that efforts to observe the law and orders by street performers, mature rituals and cultural tolerances of citizens who enjoy street performances, and efforts to realize the purpose of cultural countries and to promote street performances by governments.

• Trans-
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• v.9
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• pp.1-15
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• 2020

The most prominent phenomenon in performing arts in recent is the social sharing of art products. As a result of the city's reinterpretation of each local government, production of performances, activation of performances outside the theater, and performances performed in streets and specific spaces and public spaces deviate from traditional theater-based performance forms through social communication and expansion. Also, it is seen as an effort to expand the delinquency of the act. Furthermore, it can be said that this proves the publicity of contemporary performing arts. I will research the audience and learners through the Opera Estate festival, a recent exhibition in the Balsano del Grappa, Italy, which is based on the site-specific performance form that has been actively conducted several years ago.

• The Journal of Korean Academic Society of Nursing Education
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• v.5 no.2
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• pp.153-164
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• 1999

• Journal of the Korean Geographical Society
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• v.51 no.5
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• pp.691-711
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• 2016

Recently, Economic spaces around the world have changed dynamically. Creative arts and cultural actors have begun to emerge in old industrial neighborhoods of major metropolitan cities. These new actors can be seen as creative actors in arts and culture, as well as non-economic actors that have been somewhat overlooked in the traditional approaches of economic geography. They contribute to overcoming regional economic crisis, as these actors bring a particular deviant and creative atmosphere in the neighborhood. Especially, informal gatherings of artistic communities play a pivotal role in knowledge platforms for dynamics of knowledge creation and creativity, which has a significant effect on shaping a creative milieu in the initial stage of formation of a regional ecosystem. In this regard, this paper will investigate the fundamental mechanisms and driving forces of urban spatial restructuring through a case study of the creative arts and cultural ecosystem in Seongsu-dong, Seoul, Korea. Thus, the main purpose of this study is to identify the formation process and key drivers behind the development of the early arts and cultural ecosystem in Seongsu-dong from an evolutionary perspective.

• Korea Science and Art Forum
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• v.19
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• pp.319-330
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• 2015

The characteristics of products and services that induce natural activities of people, namely affordances, play critical roles in making interactions successful and meaningful. Earlier a methodological framework for design for affordances has been devised where repositories of affordance features are used. Affordance features are retrieved from the repository so that the new affordance feature is to be designed through an analogical reasoning. In two classes of Product-Service Systems Design education, this design for affordance method has been introduced in a tutorial setting for designing a hand carrier cart. This paper describes how the method was introduced and shows new affordance features in their design proposals with source affordance features retrieved from the repository. Implications obtained from this tutorial effort are discussed to enrich practical application of the design for affordance method. The study tries to suggest new product design method by using affordance feature repository.

• Journal of the Korea Construction Safety Engineering Association
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• s.45
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• pp.48-53
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• 2008

대통령자문 건설기술 건축문화선진화위원회가 이례적으로 건축물이 아닌 작품을 선정했다. 젊은 아티스트들의 작품을 전시. 판매하고 다양한 공연도 펼치는 홍대 앞의 명물 '프리마켓(www.freemarket.or.kr)'이 바로 그것이다. 일상 예술창작센터가 운영하는 프리마켓은 생활창작 아티스트 100여명이 만든 예술성을 지난 독창적인 생활용품과 장신구 미술작품 등을 전시 판매하는 곳으로 홍대 앞 어린이 놀이터 '홍익어린이공원'내에 매주 토요일 오후에 운영도는 거리 마켓이다. 유럽등지에 성행하는 Flea market(중고물품이나 생활용품을 교환 매매하는곳)과는 완전히 다른 개념인 free market 즉, 창작품과 창작행위가 펼쳐지는 예술시장인 것이다. 따라서 이곳을 찾은 외국인들은 그들 나라에서 보아왔던 Flea market로 착각하는 일도 흔히 발행하기도 하지만 어쨌든, 도심 속 외진 곳에 버려질 뻔했던 공간이 새롭게 태어나고 있는 점에서 매우 관심을 갖게 하는 곳이다.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.215-237
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• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.23 no.12
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• pp.1726-1733
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• 2019

Movement is everything in life and music is with our whole lives. Based on movement and sound, art has developed and reflected the times with close ties to technology and is creating new cultural content in the digital age. The absence of experts and research institutes with academic knowledge and experience in various fields compared to the frequency with which music and body movements are interwoven in the intermedia art and education of convergence is a real problem. Introducing the Rhythmik that studied the most basic principles of music and exercise through the precedent of foreign universities, we raise the need to introduce music physiology, musicians' Medicine and music performance science, the areas we studied together. It presents a new direction in the convergence era and education in pioneering research areas in which the only "I myself" systematically recognizes the movement to become the subject through physiology and medicine and scientifically moves and expresses music as a medium.

• Journal of Korean Philosophical Society
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• v.130
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• pp.277-304
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• 2014

Der vorliegende Beitrag zielt darauft ab, zwei Perspektiven $f{\ddot{u}}r$ die Kunst bei Kant und Nietzsche und ihre Schlussfolgerungen zu $er{\ddot{o}}rtern$. Kants Kritik der Urteilskraft hat eine enorme Rolle in der Geschichte der ${\ddot{A}}sthetik$ gespielt. $F{\ddot{u}}r$ Kant sollen ${\ddot{a}}sthetische$ Urteile ebenso wie Erkenntnis- und Moralurteile $allgemeing{\ddot{u}}ltig$ sein, obwohl sie auf einem $pers{\ddot{o}}nlichen$ Geschmack beruhen. Die $Allgemeing{\ddot{u}}ltigkeit$ des $Sch{\ddot{o}}nen$ sei $m{\ddot{o}}glich$, weil sie nicht auf dem Gegenstand, sondern auf dem transzendentalen Subjekt basiere. Die $sch{\ddot{o}}ne$ Kunst als Kunst des Genies soll uns wie die $Natursch{\ddot{o}}nheit$ ohne Interesse wohlgefallen. Nietzsches Stellungnahme zu Kants ${\ddot{A}}sthetik$ ist sehr kritisch. Nietzsches erster Kritikpunkt richtet sich gegen das 'interesselose Wohlgefallen'. Gegen Kant behauptet Nietzsche, dass die $Sch{\ddot{o}}nheit$ sehr wohl mit Interesse verbunden ist. Grund $daf{\ddot{u}}r$ ist, dass das $Sch{\ddot{o}}ne$ wesentlich aus dem Willen zur Macht entspringt. Der zweite Kritikpunk Nietzsches liegt darin, dass in Kants ${\ddot{A}}sthetik$ die Moral im Vordergrund steht. Das $Sch{\ddot{o}}ne$ ist $f{\ddot{u}}r$ Kant durch die Moral gerechtfertigt. Nietzsche dreht diese Stellung der Moral zur Kunst um. Der dritte Kritikpunkt Nietzsches ist, dass Kant statt von der Erfahrung des $K{\ddot{u}}nstlers$ (Schaffenden) aus das ${\ddot{a}}sthetische$ Problem zu betrachten, allein vom Zuschauer (Empfangenden) aus ${\ddot{u}}ber$ die Kunst und das $Sch{\ddot{o}}ne$ nachgedacht habe. $F{\ddot{u}}r$ Nietzsche ist die Kunst $prim{\ddot{a}}r$ vom $K{\ddot{u}}nstler$ aus zu verstehen. Nietzsches Physiologie der Kunst ist mit dem Begriff 'Leib' $verkn{\ddot{u}}pft$, d.h. Nietzsche behauptet, dass physiologische und ${\ddot{a}}sthetische$ Prozesse wesentlich $zusammenh{\ddot{a}}ngen$. Die Schlussfolgerung der Physiologie der Kunst lautet: erstens, jeder Mensch ist $K{\ddot{u}}nstler$, sofern er schaffend ist, und zweitens, die Welt selbst ist nichts als Kunst. Nietzsches Physiologie der Kunst hat einen $gro{\ss}en$ Einfluss auf die $gegenw{\ddot{a}}rtige$ Kunst $ausge{\ddot{u}}bt$ und kein anderer Philosoph hat auf die $gegenw{\ddot{a}}rtige$ Kunst nachaltiger gewirkt.