• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.149-159
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• 2018

The study is aimed at establishing basic data to identify the original forms of the garden in Unbo's House. Through interviews and related data comparison analysis the ideas and major events of the person involved in establishing a garden in Unbo's House. Also, derived the direct and indirect effects of these people on gardening. The results are as follows: First, Those directly related to garden in Unbo's House are representative figures of cultural heritage and traditional art in Korea. Based on their expertise and abundant experience in traditional spaces, they contributed greatly to the creation of Unbo's House as a traditional space. Unbo Kim, Gi-Chang who directly influenced Unbo's House gardening, which affected the site selection, location, and the installation of major garden plant plants and traditional landscaping facilities. Hyegok Choi, Soon-Woo recommended Wabon Kim, Dong-Hyun at the request of Kim Ki-Chang and was involved in the overall plan. Housing design, space design and design of major facilities such as pond were confirmed Wabon Kim Dong-Hyun. Second, Kim, Gi-Chang's wife Jeong, Rae-Hyun, who motived to construct a garden. Nosan Lee, Eun-Sang and Korean artist Lee, Seok-Ho were created a signboard and board of the Pillar to encourage simple life in paintings. The themes of the article motived image as creative. In addition, Kim, Hyeong-Sik and Kim, Wan who son of Unbo, has been with Unbo for a long time, watching and influencing garden changes in Unbo's House. Third, The main factors that influenced the garden by character are as follows. Unbo Kim, Ki-Chang had a thorough record-setting spirit and his longing for his mother and wife affected the selection of the site and setting the direction of the garden. His art world with the symbolic emphasis of traditional landscapes, including traditional facilities, and especially plant materials. Choi, Sun-Woo reflected his traditional consciousness and experience in the construction of Unbo's House. Kim, Dong-Hyun applied the basic framework of a traditional building based on Yeonkyongdang hall in Changdeokgung palace. He also reflected on the traditional landscaping design the facilities of ponds acquired through excavation of Donggung Palace and Wolji Pond, Gyeongju. Nosan Lee, Eun-Sang and Lee, Seok-Ho completed their unique place in Unbo's House. Kim, Hyung-Sik was involved in the process of changing, while Kim Wan ran the Unbo's House which he inherited from Kim, Ki-Chang.

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.

• Journal of Distribution Science
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• v.9 no.3
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• pp.73-82
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• 2011

This study presents an effective and distinctive marketing strategy through the implementation of the aesthetic art marketing communication technique of storytelling. The reason applying art to marketing is effective is that it gives "class" and aesthetic beauty to the brand's image, which will lead to an increase in revenue and loyalty of consumers. The story stands in for the brand's subject of "desire." Luxury brand customers not only consume high-quality products, require the utmost in service, and value of the brand, they also appreciate the story the brand is telling. The story, combined with art, is called art marketing communication; it makes the brand more unique through its enhanced visual elements. The study discusses art collaboration, art exhibition, a transforming architecture project, art advertisement, a flagship store, and a human resource training center. Based on the "desire," I adopted the element and principle of storytelling. By visualizing the brand with a symbol, the company is able to relate to consumers' sentimentality. Through storytelling art marketing communication, and the strategy using relevance of brand and artist's popularity, the research shows efficient art marketing influences to the brand's image. The results of the research indicate that by using adequate art marketing communication that best reflects the identity and story of the luxury brand, it produces great results; the research also demonstrated, in various ways, that art marketing will succeed. The case showed the following outcomes. First, consumers have a tendency to choose a brand that is associated with an empathizing story. World renowned brands see through the market's "desires" for unique stories, and they also provide the ability to amuse consumers. The story in a product will become an important competitive element in future markets. Second, the art marketing communication applying a story rendered a brand with distinction. The most effective art marketing communications are art collaboration, art exhibition, locomotive architecture project, and others that are adopted as various means. Third, the brand's products were considered as an art piece, which led to not only strengthening the loyalty of consumers but also an increase in sales. In addition, the company could sustain a premium price for the goods sold. By adapting art to a brand's tradition, an innovative and creative new product provides consumer satisfaction, and producing goods in limited editions creates enthusiastic collectors. Fourth, this study suggests an abridged report, implication, limitation of the study, and directions for further research. Referring to the case for the adaptation of luxury brands, efficient art marketing strategies considering Korean company brand and efficiently study preceding Korean company brand art marketing strategy could be proposed.

• (The) Research of the performance art and culture
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• no.36
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• pp.531-551
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• 2018

The educational trait that the arts and cultural education and dance strive for at a time when the ethical tasks of life is the experience for insight of life. The awareness of time entrusted with the intensity [depth] of artistic and aesthetic experience is to contain its implication with policy and system. In the policy territory, broad perception and strategy are combined and practiced to produce new implication. Therefore, on the basis of characteristics and spectrum persuaded at a time when the arts and cultural education and dance education are broadly expanded, the result of this study after taking a look at the role of dance education within the arts and cultural education is shown as follows. The value striving for by the culture and arts education and dance education is to structure the life form with the artistic experience through the art as the ultimate life description. This is attributable to the fact that the artistic trait structured with self-understanding and self-expression contains the directivity of life that is recorded and depicted in the process of life. The dance education in the culture and arts education has the trait to view the world with the dance structure as the comprehensive study as in other textbook or art genre under the awareness of time and education system category within the school system and it has diverse social issues combined as related to the frame of social growth and advancement outside of school. When taking a look at the practical characteristics (method) of dance based on the arts and cultural education business, it facilitates the practice strategy through dance, in dance, about dance, between dance with the artist for art [dance]. At this time, the approachability of dance is deployed in a program based on diverse artistry for technology, expression, understanding, symbolism and others and it has the participation of enjoyment and preference. In the policy project of the culture and arts education, the dance education works as the function of education project as an alternative model on the education system and it also sometimes works as the function for social improvement and development to promote the community awareness and cultural transformation through the involvement and intervention of social issues.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Journal of Korean Philosophical Society
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• no.117
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• pp.139-167
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• 2017

This essay attempts to reveal how taste spontaneously cultivates and why it is necessary for cultivating taste to edify our personality and to develop culture. It is a key of the solution of the problems that taste always reflects its judgment through pleasure. Because the grounds of the universal validity of the judgment of taste are found, whenever taste tests the validity of its own judgment, the so-called 'delight of discovery' makes taste cultivate itself. For having the moral personality, we need to practice spontaneously the morality of our own behaviour and for judging whether an artwork to represent the period is succeeded or not, we need to have a high insight to select the cultural heritage. But the autonomous thinking can delightfully be made a habit, judging the beauty of artworks. In the main body of this essay, it is determined from the three examples of the negative judgment of taste which Kant suggested in deduction. According to Kant, the negative judgment of taste means that the beautiful work is displeased, but what it asserts is that taste is cultivated. I formalize the methods of reflection of taste revealed in three negative judgments of taste into'resisting', 'indicating of error', 'self-retracting'.(Chapter 2) And from this, I emphasize the necessity to cultivate taste in the way that these methods of the cultivation of taste can affect building our personality by stimulating our reason to have interest in moral(Chapter 3) and in the way that taste directly judges the product of cultural succession.(Chapter 4) In the end of last chapter, I examine further essentially the method of the reflection of taste, to inquire into how to enable it.(Chapter 5) Especially, I try to illuminate its grounds through Schiller's concept of the "impulse of amusement(Spieltrib)", because his explanation helps us to understand the dynamics of taste's delight of discovery. Although the abilities of mind conflict with each other, taste has the characters that it reflects to encourage them for each other and that it is vitalized by its own activity. We, as it were, can pleasantly handle two tasks, because taste makes the impulse of amusement from conflictive impulses in mind. In conclusion, I state that we have to experience directly the impulse of amusement like creative artist, because it is maximized from creation.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.164-179
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• 2014

The Buddhas of the Three Words in a form of arranging Bhaiṣajyaguru and $Amit{\bar{a}}bha$ at its side based on ${\acute{S}}{\bar{a}}kyamuni$ at the center is enshrined in Daeungbojeon Hall of Daeheungsa Temple located at Haenam. So far, this Buddhas of the Three Words has been known as a wooden Buddha statue. However, as a result of X-ray screening, in left/right Buddha statues excepting main Buddha, wood and molding clay layer were observed at the same time. Therefore, this study intended to observe its internal structure, grafting method and to clarify making technique of Buddha statue during Joseon era based on image information being obtained through X-ray screening of The Buddhas of the Three Words of Daeheungsa Temple. As its result, it was revealed that form of ${\acute{S}}{\bar{a}}kyamuni$ was completed by mainly grafting 5 pieces of timber and this statue shows a typical wood grafted Buddha statue during Joseon era. Form of Bhaiṣajyaguru and $Amit{\bar{a}}bha$ were completed based on molding technique by applying clay on sculpture similar to its appearance after sculpturing more than 10 pieces of timber through its grafting. In other words, internal timber is considered to play a role of its core and grafting method of timber is more close to a technique of molding Buddha statue than to that of wooden Buddha statue during Joseon era. However, clay was directly applied on timber thinly, not applying clay thickly on it after winding straw rope on wooden core and its characteristic is that its facial area was completely composed of wooden construction only. Therefore, it is hard to rule out a possibility that the original sculpturing intention of an artist might be a wooden Buddha statue but in view of the fact that a word, 'molding' was used in a record of relics buried in statue, it could be seen that this Buddha statue might have been recognized as a molding statue at the time when creation of this statue was completed. It is considered that number of case of making statue based on this technique would be more increased when more results of X-ray screening should be accumulated and if more data should be collected, it would provide a significant evidence for identifying chronological, regional aspects of making technique of Buddha statue.

• (The) Research of the performance art and culture
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• no.36
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• pp.289-312
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• 2018

Pansori has been passed down over several generations and over time have undergone continued change in accordance with the times, as well as the skills and ability of the singer. Policies regarding intangible cultural treasures were established to preserve and promote the continuing tradition of art forms including Pansori and thus must spare no effort in supporting and preserving the genre. As such, for proper implementation of the newly legislated law, it is necessary to review the agents who pass down the tradition of Pansori and whether there are any areas that need to be changed in terms of our perception of culture in general. Pansory in the $21^{st}$ century features both contemporary aspects and mass appeal and have undergone many changes in how it is enjoyed. It is our responsibility therefore, to establish how the art and universality of Pansori should be promoted. From this perspective, this study reviewed the evolution of law on intangible cultural treasures, the current status of intangible cultural treasures being passed down with a focus on national treasures and those of Jeonbuk Province to shed light on issues. Diversification is needed in the number of those who carry this intangible cultural treasure, as well as the number of categories. To that end, a survey index or practical ability index must be taken into account for the application and designation of intangible cultural treasures. The study also noted issues of the categories for designation as intangible cultural treasures and discussed directions for improvement. In the case of Pansori, suggestions for improvement were presented for the designation of skilled artists by school, regular surveys and regular application, increased role of artists for increased mass appeal, survey of regional singers, supervision and monitoring of skilled artists and establishment of a manual for the education on how to pass down the art form. In doing so, efforts should be made to make the passing down of Pansori more active and related education more systematic. Since we are in the early years of the law on intangible cultural treasures being implemented, areas of improvement will continue to be identified. It is however certain that the proper support for the art form to be handed down should be done in a way where law and culture are complementary given that Pansori is not just a Korean tradition, but a tradition of mankind.

• Korean Journal of Labor Studies
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• v.24 no.2
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• pp.95-136
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• 2018

As the number of precariats grows, their poor labor rights and working conditions are becoming issues of major concern all over the world but how to represent their interests is still controversial. Basically, the union is the institutional mechanism for representing the labor rights. However, it is difficult for workplaceand enterprise-based unions to fully represent the labor rights of precarious workers. Recently, so-called community unions have emerged in the United States, the United Kingdom, and Japan as independent organizations representing the rights of non-standard workers. Community unions refer to labor unions which organize precarious workers across firms at the regional level. They are known to be suitable for covering the unemployed, job seekers, indirect employment workers, short-term contract workers, and small-firm workers. In South Korea, since the financial crisis in 1997, a dramatic increase in the number of precariats leads to emergence of new types of trade unions such as the Youth Community Union, the Arbeit Workers' Union, the Artist Social Union and the Korea Musician's Union. They have engaged in various activities to guarantee the labor rights of precariats. Recently, researchers have also tried to identify defining characteristics of these new forms of unionism. To expand research on trade unionism in South Korea, this study compares two different types of community unions: the Youth Community Union and the Arbeit Workers' Union. We believe that this attempt can contribute to the research on the alternative labor movement. For this purpose, this study starts with theoretical discussions on community unions, and compares the Youth Community Union with the Arbeit Workers' Union based on the five characteristics of community unionism: membership and organization structure, the recognition struggle, the type or scope of interest, solidarity with other civic organizations, and the repertoire of resistance strategies. Based on this comparative analysis, this study seeks to foresee the possibility of how community unionism will develop in South Korean in the future.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.124-139
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• 2013

Choi Cheon-yak(about 1684~1755) is an artist who left the various artistic works such as sculptures of royal tombs, architectures. In addition, he was not only a skilled caster but also an able artisan carving jade in the early Joseon Dynasty period. Starting from making royal seals of King Suk-jong, he had made more than about 40 Royal seals until 1755. Choi Cheon-yak was well known as a skilled jade craftsman. Another of his great abilities was to carve subjects into ideal figures. In virtue of his greater abilities, he could take part in the process of constructing Royal tombs and sculpting the stone statues of military officials' which were erected at aristocrats' tombs. With these accumulated skills, when he was in charge of designing the folding screen stones for King In-jo's Jang Neong, he could even replace 12 animals system and clouds with peonies and lotus. Among his various abilities, his skill in carving a sculpture can stand comparison with any other contemporaries. His sculpture skill was at its zenith in 1752, the stone statues of military officials' at the Ui soseson's tomb count his showpiece that describes a model at the age of his late teens and is a realistic and portrayal sculpture, which met the royal family's dignity. In the same year, the stone statues of military officials' constructed by Choi Cheon-yak was elected in front of the Jo Hyen-myeong's tomb(1690~1752). This masterpiece referred to the armor of those of King Gong-min Neong and newly added a helmet and the patterns of a tortoise shell. These patterns of a tortoise shell were passed down to Park Moon-su's tomb in 1756 and Queen Jeong-sung's Hong Neung by his colleagues : Kim Ha-jeong and Byeon Yi-jin etc. He was one of the greatest sculptors in the $18^{th}$ century. People in Joseon praised him highly for his imaginative work from an amorphous object. Especially, these stone statues of military at Jo Hyeonmyeong's tomb shows the proofs of his supreme artwork.