• Journal of Korea Technology Innovation Society
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• v.17 no.3
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• pp.467-489
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• 2014

The purpose of this study is to explore the suitable creative class in korea as the core capital of creative urban growth under creative economy era. We are test to find it for two types of creative class. One is Richard Florida(2002)'s creative class, the other is Mcgranahan & Wojan(2007)'s recasting creative class. Data on 2010 for this paper are generated from Statistics Korea. As a result, we find that the economic geography of creative class is highly concentrated. Furthermore, the geography of creative class is strongly associated with innovation index and high-technology industry location. And Mcgranahan & Wojan(2007)'s creative class is more strong relationship between all dependent variables than Florida's. We also find that it has better power of explanation than Florida's with all of them in regression analysis. According to the results, this study suggests some solutions. First, this study can be provided to government and local policy makers as basis data and practical policy guide to attract creative class. Second, this paper presents standard about a diversity of definitions for creative class in Korea. Third, this research also facilitates follow-up studies about regional economic growth and creative climates.

• Journal of the Korean association of regional geographers
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• v.20 no.1
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• pp.49-69
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• 2014

The theory of creative city can be seen as one that reflects a relationship between recent change of economic environment and socio-spatial reconstruction in the so-called 'cultural turn' to deindustrialization. This paper considers approaching methods to knowledge-based economy or cultural economy as a context of development of theory of creative city, and suggests types of conceptualization of creative city. Then it reviews creative perspectives which can be found in recent domestic and oversea research trends on creative city, especially relating its nature with neoliberalism. Finally this paper discusses critically the concept of creative class as a social constitution of creativity or creative economy, and that of creative city as its spatial constitution. The concept of creative class can be criticized in terms of ambiguity of the concept of class, class-biased and economy-privileged idea, market valorization of culture, individualization against community, normalization of flexible labor market, and uncertainty of economic success of creative city. The concept of creative city can be criticized in terms of limitation of interests to city, ignorance of national and global dimensions, decontextual normative vision, legitimation of neoliberal city, lack of proof of causality between creative class and economic success, polarization of within and between cities.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.158-170
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• 2013

With the recent 'Creative economy' and 'Cultural prosperity' coming to the fore as a new code to build up a city or a region, it is necessary to focus on strengthening the regional creative capacity as well as developing spontaneous regional culture. In such trend this research aims to explore the Kyunglidan-gil, Seoul, Korea in which creative-class are appearing autogenously in clusters and forming new cultural landscape, to identify the factors of their accumulation and changing aspect of cultural landscape. This study has the following purposes: First, Investigating the historical context of the Kyunglidan-gil's landscape. Second, considering the process of the creative-class being flowed into the Kyunglidan-gil as the subject leading to the modification of the region. Third, their activity was analyzed to consider the unique aspect of forming the cultural landscape at the Kyunglidan-gil. Regarding why the creative-class should flow in, results of the study drew five factors including region in issue compared to inexpensive rents, coexistence with nature, quiet atmosphere seeming isolated from the urban confusion, location possible to test and share individual materials one likes, and a site with synergy effect of activity through the network with acquaintances. Also, five characteristics of cultural landscape forming by the people's activity were drawn - space of communication for increasing creativity, temporary and flexible spatial use, expression of one's identity and taste, distinguishing, and positive use of the existing facilities. Like this, by exposing the 'creative-class', a subject of the leader in changing process of the Kyunglidan-gil, this research identified the aspect of forming cultural landscape.

• Journal of the Korean association of regional geographers
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• v.19 no.1
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• pp.60-74
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• 2013

The discourses of creative city have been developed as a development and rehabilitation policy or plan in the contexts of globalization or deindustrialization society mainly progressed by Western capitalist nations, and there are a variety of effects due to the implementation of creative city in different national and local conditions. Many nations or cities have adapted and practiced the idea of creative city as a policy of development or rehabilitation without its critical examination. The purpose of this study is to make a conceptual framework of newly interpreting creative city, particularly focused on creative industry and class. The framework of creative city as a becoming locality consists of culture and art, creative actor and place continuously interacting, and it will take an active role to solve a variety of problems in the cities or regions due to globalization or deindustrialization. Creative city as a becoming locality should be developed in a close relation with the real situations in the future.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.222-235
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• 2008

This study looks at motivations of video UCC users as a member of creative class. A qualitative research method was used for analyzing data collected by interviews. Killing time users, active clickers and creators are distinguished as different types of UCC users and their differing motivations are explored. The findings of the study are as follows: First, information sharing, self presentation, communication needs, ease of use for self presentation, usefulness are expressed as motivating factors for both active clickers and creators, Pleasure motivates every type of users. However, content creators experience a specific type of pleasure which is the pleasure of creativity or flow, which this study highlights as a key driving factor for content creators. The study adds to the findings of UCC user research which applies the TAM and the PAD model by revealing what pleasure and flow specifically mean for different types of UCC users.

• Cross-Cultural Studies
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• v.26
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• pp.73-94
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• 2012

In the present context of systemic global crisis, this paper focuses on a sustainable society. Throughout the World there are vast members of the unemployes. A secure job lasting a lifetime has become more and more rare. Nowadays majority of jobs are part-time or temporary. $Andr{\acute{e}}$ Gorz found a solution in a policy of the progessive reduction in labor time. This is the potential which automated production opens up for a culture society. Nevertheless, Gorz's proposal is based on utopion ideals. This paper focuses on a dynamic force for a culture society, especially art, learning and the third sector. Adrienne Goehler underlines that a culture in the broad sense of the word produces economical and social productivity. In this connection Goehler give attention to 'Cultrual Creatives' and the Creative Class. Cultural creatives are comprised of people who have participated in the process of creating a new culture with enlightened creativity. The Creative Class is a class of workers whose job is to create economic growth through innovation. Creativity is important for a sustainable society. Gore and Rifkin both come close to the ecological thinking. Gore claims that ecosystem of nature have a self-organizing capacity. In this context tried to prove this article that ecosystem is closely connected with a creative environment.

• Journal of Navigation and Port Research
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• v.36 no.6
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• pp.465-474
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• 2012

Hamburg's development politics like "metropolis Hamburg - a growing city" demonstrates an important economic and demographic growth during 1997 to 2008. Beyond the positive factors with the idea of creative city, only selected class of people are involved in the city's active living, the others experience only gentrification. The G$\ddot{a}$ngeviertel, where the Hamburg's working class and dockworkers had lived, will be analysed as a historical important place of the gentrification since the end of the 19'century. This paper focuses on the actual Hamburg's movement of the initiatives "Komm in die G$\ddot{a}$nge" and " Right to the City", which took over the last 12 buildings of the G$\ddot{a}$ngeviertel. The G$\ddot{a}$ngeviertel Project, with the slogan "the city is neither a business nor a brand, but a community" could be an example of an alternative and sustainable solution for better living in the urban area of the Hamburg.

• Journal of Agricultural Extension & Community Development
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• v.20 no.4
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• pp.989-1021
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• 2013

This paper examines the activating methods of heritage tourism by focusing on ecomuseum as regional revitalization strategy of agriculture heritage. Ecomuseum can be a vital tool to actualize the purpose of agriculture and fisheries heritage system, 'dynamic conservation' of 'a living heritage'. According to case study, Byeokgolje possesses high value to preserve and local government is planning to vitalize heritage tourism, but the system of heritage tourism is not properly equipped the four requisites for it (sincerity, educational value, entertainment, and nostalgia). Byeokgolje is insufficient system as an ecomuseum and has some challenging tasks to prepare the four requisites for ecomuseum(the legacy, museum, participation and contents) despite of high possibility. It is necessary that construct the four requisites for ecomuseum and fulfil the four requisites for heritage tourism to achieve the effect of regional revitalization by link to ecomuseum. That is, authentic contents developing, the participation of local residents, shakeholder, and creative class, site construction, academic approach, and providing the method of residents' income increasing are necessary.

• Journal of the Korean Geographical Society
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• v.42 no.2 s.119
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• pp.280-294
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• 2007

This paper aims to examine the ways in which the Singaporean government has promoted the "global city" imaging strategy as a means for marketing Singapore. Since the 1990s, Singapore has pursued a place-marketing strategy that aims at imaging itself as a "creative", "culturally vibrant" and "cosmopolitan" global city by utilizing various cultural, tourist and spatial policy measures. It argues that the Singaporean government has promoted this particular imaging strategy under a broader economic resoucturing program, aiming at transforming the Singapore's economy into a "knowledge-driven" one, under which the attraction of international knowledge workers is seen as crucial for the competitiveness and innovation. This paper also discusses the limitations of this strategy, focusing on growing tensions between the global and the local in the Singaporean society and the ways in which the authoritarian and top-down nature of governance have restricted the genuine development of the "culturally vibrant" environment in Singapore.

• Journal of Korea Game Society
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• v.2 no.2
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• pp.66-71
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• 2002

The common lives of the korean people reflect the feeling and emotion of their own world irrespective of rank and class. The folk picture which has the humor, feeling of the korean people, has been with the whole nation throughout times. Therefore it reveals the imaged tradition, recordable character and the truth. It is the folk picture that is the first stream of the game graphic. Because it has its own world built by timeless culture, philosophy, religion, art, and so on. When the game is understood as the reappearance of virtual truth, and the whole new world of the game players, it is really necessary to develop the game graphic with creative plans and artistic value. It is the time to focus on the korean folk picture as a new sources of the contents. Then it is obvious to solidfy the groundwork of the game industry if people at all ages play games as a result of reinterpreting and developing technical tools for the korean folk picture for the present age.