• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.179-180
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• 2016

본 논문은 세계의 국가발전 핵심 키워드인 창조경제의 동력으로서 문화예술경영이 추구해야 할 방향성을 찾는데 목적을 가진다. 이를 위하여 본 연구에서는 첫째로 문화예술경영이 창조경제논리에 부합하는지 알아보기 위해 창조경제의 조건과 문화예술경영의 의미를 비교하여 두 개념이 추구하는 방향의 일치성을 확인하였다. 둘째로 본 연구의 목적인 창조경제 동력으로서 문화예술경영의 방향성을 찾기 위해, 창조경제의 성공적 사례를 담은 문헌 및 연구를 탐색하였다. 이를 바탕으로 문화예술경영의 방향으로 '예술을 수용하는 관객, 소비자, 독자들이 보다 예술과 가까워질 수 있는 다양한 프로그램 마련', '예술가들이 패러다임의 변화를 주도할 수 있는 제도적 장치 개발', '예술가 사이, 예술과 관객 사이 네트워크 형성을 위한 지원', 그리고 '일반인에게도 예술가의 가치 인정' 등을 도출하였다. 이러한 내용을 포괄하며, 마지막으로 예술에 대한 인식의 변화 추구와 다양한 아이디어 공존이 가능한 환경조성을 통해 창조경제의 생태계를 탄력성 있게 만드는 정책이 강구될 필요가 있음을 제안하였다.

• The Journal of Korean Institute for Practical Engineering Education
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• v.3 no.2
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• pp.11-17
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• 2011

As a rapid rate of social change and competitive, paradigm of industry environment manufacturing products and services is shifted. Engineers design, develop, manufacture the products and services are strongly asked competency of different new creative practices. This means while industrial structure has been shifted from mass production to various allied production and social engineering based production, qualifications of engineers are required to individual creative competency as alternatives. In order to improve the competency, engineer become the creative people have ability to develop the professional knowledge competency and expand the competency to convergence the new product and services with sensing the life and social structure shift, human engineering, psychology, and emotion. For the competency, we develop the training program "improving convergence, creativity through Art." we intend that the program should be composed of creative engineering mechanism combined creative arts mechanism. It has been operated to the engineers for 17 weeks. we will discuss the program result and research direction and utilization in depth.

• Journal of the Economic Geographical Society of Korea
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• v.19 no.4
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• pp.642-659
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• 2016

This study examines the characteristics of creative city policy for Japanese culture and arts creation cities and finds the implications of culture and arts city policy by reexamining the examples of Kanazawa and Yokohama from the viewpoint of creation-based strategy of the city. The policy implications of creative-based strategies are as follows. First, in terms of the governance of the creative-based strategy, Kanazawa conducted governance through a citizen-led cooperative network, while Yokohama promoted creative city policy through a local government-led cooperative network. Second, The mechanism of action of the endogenous resources of Kanazawa and Yokohama was different. Third, the territorial embeddedness in Kanazawa and Yokohama was easy for pedestrians to access to the customer center in the creation core area. Both cities have good access to domestic and international demand, and amenity is well established.

• Korean Association of Arts Management
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• no.56
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• pp.243-274
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• 2020

Maker culture in Korea began to receive public attention after the 2012 Maker Fair Seoul. Central and local governments took note of this trend and subsumed makers' culture into its policy domains such as Creative Industry, Creative Cities, 4th Industrial Revolution, and the all-encompassing Creative Economy. Creative Economy was a public policy discourse formed in the public sector for the purpose of overcoming economic depression and revitalizing the economy. Under Creative Industry and Creative Economy, creativity and culture/arts are deemed indispensable but at the same time objectified and alienated as their ultimate value are recognized only as the basis for economic production. In this article, makers' culture itself goes through the same process of objectification and alienation that creativity and culture/arts suffered as the relevant policies were pursued under Creative Economy. The authors attempted to corroborate this through the case of Makercity Sewoon, and found that the Seoul City's urban development plan surrounding Sewoon Plaza proceeded in a direction destructive to the local technological ecosystem and therefore conflicts with the pronounced goal of leading 4th Industrial Revolution by encouraging and nurturing makers' culture. Makercity Sewoon, although packaged in a discourse of Creative Economy and Creative City, betrayed the same problem of alienating arts/culture and labor that the previous discourse showed.

• 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.

• 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.

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.37-37
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• 2004

시각은 실제와 다른 여러 가지 현상을 일으켜 착시현상을 유발하게 한다. 대부분의 조형 예술은 착시를 포함하고 있고 이것은 시각 예술에 다양하게 적용되며 특히, 인체를 도구로 한 조형 예술인 패션은 미적 욕구를 위한 인체의 시각적 변형을 통하여 한 차원 높은 새로운 시각 예술을 창조하고 있다. (중략)

• The Science & Technology
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• v.32 no.10 s.365
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• pp.27-27
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• 1999

과학과 기술, 통신의 급속한 발달은 새로운 매체의 예술을 가능하게 한다. 컴퓨터의 마우스를 움직여서 색상을 선정하고 원하는 선이나 형태를 선택하며 편집하고 조합하여 미술계에도 디지털미디어가 새로운 표현수단으로 이용되고 있다. 이렇듯 컴퓨터와 인터넷을 통한 예술은 새로운 세기의 문화의 상징으로 전세계를 네트워크로 구성하는 또다른 예술형태를 창조해 내고 있다.

• Journal of the Economic Geographical Society of Korea
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• v.17 no.1
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• pp.28-44
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• 2014

As the era of glocalization arrives, each area of the world with the uniqueness trying to enhance competitive advantage. In this context, the 'Art asset' should be understood as an independent 'Content' in terms of place marketing & creative regional regeneration. Especially in a place as a component of assets 'art' is recognized as an independent content & as a means for new areas of creative regeneration and the local economy will be discussed. To do this, place the property on the basis of a review of existing research on the concept of a new arrangement of art assets were classified by type and each of the cases examined. Ultimately, through the review of creative play area as a place of art assets and utilize the potential value of plce asset is the goal of this article.

• 지역과문화
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• v.7 no.1
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• pp.27-57
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• 2020

This study focuses on the culture-based revitalization strategy in creative rural areas. To this end, we first summarized the concept of creative village, which has been discussed in Japan and the West. Also, based on the relationship between them, we proposed a revitalization model of creative villages through the culture and arts. In this process, the concept and relationships were examined in detail through the example of Miryang Theater Village in Miryang. In addition, this study analyzed the problems of Miryang Theater Village and applied it to the concept of creative village and suggested an alternative. Through this process, we reconsidered the meaning and possibility of cultural arts in the creative village. And, it was confirmed that the cultural arts could be realized through the balance and organic linkage between the elements of creative villages in order to localize them in combination with the regional specificity of rural areas.